Why Speed Racer May Be the Greatest Comic Book Movie
Speed Racer unconventionally adapted the comic book formula to a unique emotional high that now stands out in a crowded genre.
Speed Racer unconventionally adapted the comic book formula to a unique emotional high that now stands out in a crowded genre.
Avatar: The Way of Water is a monument to James Cameron’s business model but stutters on every other artistic or dramatic criterion imaginable.
Star Wars: The Last Jedi continues to be debated out of passionate frustration. This is an exploration of what’s right and wrong with this bizarre movie.
A Quiet Place Part II tries to squeeze more sequence out of a great concept. It succeeds despite straining for believability amid conflicting rules.
Werewolf by Night struggles for clarity within the constraints of an homage, sequel, origin story, and TV special in one. But it’s fun to watch it try.
Samaritan accepts on faith that the audience thinks Stallone is a superhero. His charm, and almost nothing else, makes it sporadically watchable.
Prey expresses a strong period aesthetic powered by fresh performances but relies on a screenplay that misplaces its series’ core values.
Despite triumphant performances and high ambitions, Everything Everywhere All at Once hopes to be so well-understood that it overexplains its triumphs away.
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.
Admirably grounded and well-cast, The Batman tries its best to add relevance to a cluttered canon amid broken thriller mechanics and aloof dialogue.
Batman reflects the charm and the cost of a script that was not properly finished. But its lead and its meticulous visual design still enchant.
A response to Zack Snyder’s Man of Steel as well as to the debates about it, including both its problematic execution and its honest desire for greatness.
Another trailer for The Batman encouraged me to write down my thoughts, both my anticipation and misgivings, about Matt Reeves’ latest take on the Dark Knight.
Star Wars: The Rise of Skywalker is as sloppy for its artists as embarrassing for its fans. It is brand mismanagement in visual form.
1917 is a capable demonstration of technology matched to an overreaching story. Exactly what meets the eye.
Conan the Barbarian throws itself into the brutal past, wielding its actor’s charm like a broadsword. Only plot conventions are strong enough to hurt him.
Hulk is a Marvel film made from spirituality and angry power. Nothing it does wrong can stop its difference from being beautiful.