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.
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.
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.