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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.
Interstellar's brilliant technical filmmaking hinges on a story thwarted by melodrama. Its head is full of ideas, but its heart is empty.
Let Me In is an arousing remake that makes a cautionary tale more streamlined, romantic, and cathartic, three things it probably never intended to be.
Despite its meandering awkwardness, one of the most hated horror films of all time features a compelling creative vision and the visuals of an epic.
Army of the Dead's ruthless devotion to plagiarization is its most passionate aspect. Less effort was never spent on a film so casually praised.
The new Texas Chainsaw Massacre film is exactly what you would expect from rebooting this dirty series into the glossed-up legacy sequel model.
