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.
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.
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.
Tim Burton’s Batman Returns is a dark Christmas fable, an action fairytale. It’s the whole experience of reading comics in one painful, beautiful mythology.
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.
Superman creates a well-meaning mythology that predicts the most profitable film genre. Its many imitations are only partial, however. The original still soars.
Robert Altman’s adaptation of Popeye feels more like a redaction. His serious silly world is more interesting as a failure than enjoyable as a living cartoon.
Hulk is a Marvel film made from spirituality and angry power. Nothing it does wrong can stop its difference from being beautiful.