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Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series' core values.
This well-endowed Macbeth strives for greatness without the stomach for it. Stylized visuals can't cover for all the meaning it misses.
Zack Snyder's Justice League delivers on the promise to release every second of footage shot for its original cut, for better and not much better.
The House shimmers with collective angst, a nightmare only stop-motion could make. So why does it make me feel so happy?
Black Widow approaches genuine dramatic insight in parts but fails to make its title character more interesting than the performance is by default.
The final episode of Obi-Wan Kenobi gets everything to where it was going. Not even its best part could be worth the wait.
Part V continues Obi-Wan Kenobi's habit of steamrolling plausibility with reverse-engineered plot directions, with a small twist.
Despite triumphant performances and high ambitions, Everything Everywhere All at Once hopes to be so well-understood that it overexplains its triumphs away.
So far, Obi-Wan Kenobi seems to be relying more on Star Wars fans to be excited in the absence of creativity than on its own inspiration or technical ability.
The much-maligned Prometheus hides an epic sci-fi fable despite failing to satisfy its own ambitions. Fassbender is genre-defining.
Godzilla: King of the Monsters avoids the essence of its brand almost as aggressively as it avoids working on its script.
The Revenant is a powerful statement on cinematic realism affected but not marred by its real toil. It's old cinema made epic again.
