Despite triumphant performances and high ambitions, Everything Everywhere All at Once hopes to be so well-understood that it overexplains its triumphs away.
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.
Admirably grounded and well-cast, The Batman tries its best to add relevance to a cluttered canon amid broken thriller mechanics and aloof dialogue.
The 15th anniversary of Zodiac is the perfect occasion to revisit David Fincher's best film and see how the thriller epic holds up in 2022.