Uncharted is a bland, National Treasure-esque mess of CGI and hackneyed globe-trotter tropes. Uncharted is the umpteenth attempt by Hollywood to turn a globally popular…
Dog thankfully avoids propagandist war dog tropes and instead builds something sweet and poignant from its mismatched buddy comedy conceit. Having vanished at the peak…
Marry Me isn’t even worth a second date. New romantic comedy Marry Me marks a reunion for stars Jennifer Lopez and Owen Wilson, both of whom…
Branagh seems more preocuppied with his acting than his directing, but Death on the Nile retains a high enough enjoyment floor according to its playful whodunnit-isms…
Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Jackass Forever manages to once again up the ante, delivering not just the series’ best entry, but one of the most truly cinematic films in…
2022’s Scream is a sincere betrayal of the franchise’s legacy and devoid of Craven’s masterful craft and play. A rejoinder to a dead subgenre, Wes Craven’s 1996…
Misguided as female-driven blockbuster and unappealing as actioner, The 355 offers little to chew on. There is something rather refreshing in the fact that new action…
The King’s Man is a tale of two films, neither of which belong in the other’s world. Every year, there’s at least one. In the odd…
American Underdog is an inoffensive but utterly bland bit of hagiography, only slightly elevated by its surprising visual merit and an affable leading man. By all…
It’s impossible to replicate the essential newness of the original Matrix, but Resurrections is another deeply idiosyncratic huge swing that’s destined to be underappreciated for the near future.…
No Way Home offers some genuinely playful noodling with Spider-Man’s cinematic legacy, even as it often stumbles in execution and suggests a muddled future for the MCU.…
Nightmare Alley suffers from some tonal imbalance and isn’t always suited to its epic style, but the strength of craft and del Toro’s familiar heart-on-sleeve…
Spielberg’s authorship is distinctly felt in this version of West Side Story, and more than in the original, it here truly feels as if life…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Encanto can be a bit boring, a bit shallow, and a bit underwhelming in the musical department, but its gorgeous animation and rather quaint character make…
House of Gucci is relentlessly entertaining spectacle, utterly soapy and only occasionally undermined by some bland prestige film sheen. Ridley Scott goes two-for-two this year, first…
Afterlife is more rehash than reinvention of the Ghostbusters brand, cloying and desperate in its mode of pure nostalgia. Ghostbusters: Afterlife is an almost purely nostalgic experience, but it…
King Richard ticks all the inspiration sports story boxes, but transcends the template thanks to the vivid, granular attention paid to its lived-in details and bountiful…
Clifford the Big Red Dog is vapid, conceptually nihilistic, and utterly soulless “entertainment.” When moviegoers go to the movies, they typically do so with certain expectations:…