If you go into ‘Hobbs and Shaw’ expecting anything other than a goofy, over-the-top action film, then you will be gravely disappointed.
While visually slick, ‘Ice on Fire’ is filled to the tipping point with scare tactics, doomsday predictions, and unreasonable proposals.
The final X-Men outing gives the iconic Phoenix Saga a second try, learning nothing from the mistakes of the past and delivering an ending sure to disappoint even the most forgiving fans.
The filmmakers didn’t seem to want to follow the plot much. Or develop characters. Or stay true to some of the more interesting parts of the comics.
It took three tries to make it all the way through this scintillating look at Robert Francis O’Rourke’s love of the f-word and Whataburger.
Set 10 years after the events of the series finale, HBO and David Milch deliver an intense, moving portrait of life and death at the end of the Wild West.
At exactly half the length of ‘Avengers: Endgame,’ ‘Brightburn’ efficiently delivers a simple but solid story that’s so fresh, frightening, and franchise-worthy you’ll wish you could binge on a sequel as soon as it’s over.
Every so often, a film shows the depth of communism’s personal costs in a poignant and beautiful way. So it is with ‘Cold War,’ a masterpiece from Polish director Pawel Pawlikowski, nominated for three Academy Awards.
‘Wine Country’ is outright cringe-inducing from start to finish, save for a merciful flash of comedy every 20 minutes or so. Not even a bottle of cab can dull the pain.
Some context is missing from the film, which portrays the informant as a Robin Hood figure of Detroit wronged by the feds.
The Avengers, like us, have good intentions. But they aren’t really good. And we don’t really believe we are either.
I don’t think anyone would have ever guessed that the guy who played Jim Halpert on the U.S. version of ‘The Office’ might have anything to do with a discussion of essential horror filmmakers.
Neither mother nor daughter was perfect — in fact, their lack of communication and empathy could be infuriating. But in the ways Lady Bird and Marion tried, and failed, to express love to the other, we could see ourselves.
This was a truly great year for cinema, and I struggled over this list, especially since horror, my favorite film genre, has seen a massive resurgence of quality in the last decade.
‘Roman J. Israel, Esq.’ asks: Is the answer to our racial woes an overwhelming protest of oppressed over the oppressor, or is it forgiveness and genuine reconciliation?
At times, it can almost seem ‘War for the Planet of the Apes’ is anti-human. Yet it really shows what is best, and worst, about humankind, and therefore defines it.
This new ‘Spider-Man’ has none of the sweetness of the old comics or movies, none of the suffering—but all the gadgets and heroism audiences want.
Common Sense Media is one example of the progressive rush to save our children from sex. But they are shooting for the wrong goal.
With ‘Baby Driver,’ Edgar Wright infuses the heist genre with an originality that’s consistent with his previous work.
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