‘Spider-Man: Far From Home’ is Peter Parker’s most entertaining adventure yet.
The Avengers series raises questions that cut to the essence of human nature, and ‘Endgame’ is the last chance for America to get the answers we deserve.
Quite possibly the most underrated film in the Marvel Cinematic Universe is ‘Thor.’ (No, I’m not kidding. Yes, I will fight you.)
Thanos has a similar mindset to leftists of the past century or so. He believes anything can be justified if it forwards his well-intentioned agenda.
That the film paints Malthusian calculus in such an unflattering light just as a wave of editorials are confessing the unrealized horrors of population panic is one heck of a coincidence.
The Avengers, like us, have good intentions. But they aren’t really good. And we don’t really believe we are either.
Whatever your jam may be—fantasy, SF, action, horror, comedy, or melodrama—it’s guaranteed to be somewhere in this packed conglomeration.
From the very first scene, ‘Thor: Ragnarok’ emits a strong message about vocation — that is, the roles in which one serves his or her neighbor.
‘Spider-Man: Homecoming’ affords the opportunity to compare Peter’s pursuit to wield super-powers responsibly with other, older heroes’ endeavors to do the same.
Keeping the focus on the action’s effects on the characters keeps characters central, giving us a human superhero story. Other Marvel movies lack this.
Luke Cage might as well be Achilles. All the markers are there.
Every independent study of film tax credits has found they do not create lasting economic development nor come anywhere close to paying for themselves.
The only real conclusion to draw from the recent string of Marvel movies is that the government is a genuinely ineffective machine incapable of handling problems.
Without a false note in its two-and-a-half-hour run, ‘Captain America: Civil War’ may be the best Avengers movie yet.
The values that bind The Avengers vastly outweigh the ideas that separate them, as they display in “Age of Ultron,” opening this weekend.
Hollywood has forgotten how to tell a story.
Why was horrific violence in The Passion of the Christ condemned by critics but affirmed in 12 Years a Slave?
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