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the result may not be perfect , but its uplifting spirit reminds us of the genetic link between superhero movies and screwball romcoms - all the while retaining an admirably straight face .
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in filmmaker emerald fennell's diabolically funny takedown of toxic masculinity , carey mulligan gives a dynamite performance that should make her a frontrunner in the oscar race for best actress .
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the film's treatment of a gender-nonconforming character is clear-eyed .
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shadow in the cloud is a cinematic tour-de-force and terrific fun .
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eight for silver is truly unique , it excels in its eerie spin , breathing new- brilliantly deranged life into the subgenre .
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unless you speak the language , it may be unfair to judge the awkward dialogue . but what doesn't get lost in translation is a blazing rock crashing through a glass observatory , or a flow of molten lava swallowing everyone in its path .
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cassie is the biblical justice we need in 2021 .
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the excess of prisoners of the ghostland has the discipline of an experienced filmmaker like sono , paradoxically it is not perceived as saturated despite its delusional plot and structure .
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tenet isn't here to collect oscars . it exists to pummel you with excitement , twist your sense of reality , and leave you confounded with the deafening power of its nine-figure budget .
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implausibility is the order of the day .
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it's an exciting first film in what hopefully will become a franchise for director gina prince-bythewood and these characters .
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if you cannot find it in your heart to draw enjoyment from the sweet-natured true story of a profoundly depressed woman who rediscovers joy thanks to a wounded magpie she nurses back to health , there is some dark hole in your soul .
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the devil all the time isn't an easy movie to watchconvoluted and bloodthirsty - and perhaps too much of each - but the talented people both in front of and behind the camera serve to elevate the proceedings greatly .
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maybe it is enough of a victory that wonder woman is not the problem of a " wonder woman " movie .
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the great strength ofthe night is the acting talent on display .
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it's refreshing , however , for any part of the culture to suggest that sometimes wanting more stuff is just a destructive distraction from what's right and true . even as it indulges our love for said stuff .
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we find in jane austen's text highly inspired actors , a gleaming female lead , and a sparkling approach from [ director autumn ] de wilde .
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the old guard may be comfort food , but during this particular year , and thanks in large part to this particular cast and crew-it will hit the spot for many .
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more entertaining , more spectacular , with more adventures , with a super powerful feminine look and with a love story that fills the screen .
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watts is such a chameleon of an actress , such a pro at slipping into a vast array of roles without drawing attention to the mechanics of her work , that we almost take for granted how damn good she is - and she delivers beautiful and resonant work as sam .
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the biggest success , however , is the balance of psychedelic mysticism and heady science that are melded with toe-curling scenes of gore and suspense .
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the little things is an intriguing riddle wrapped in a mystery , wrapped up with a ridiculous ending .
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it's a film brimming with sweet sadness as well as a nagging restlessness that , in 2021 , is all too familiar .
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only riley keough and eliza scanlen have stood out .
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in the earth is a lockdown-filmed , unsettling and gruelling experience that gradually uneases the viewer with its pensive pacing until it assaults with its powerful synth score , garish visuals and backwoods/ecological horror .
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huge scale , gripping and ambitious sci-fi spy thriller from christopher nolan , which simply has to be seen to be believed , and possibly seen more than once to be fully appreciated .
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through a delightful combination of sight , sound , and performance , de wilde's emma . is a premier scruples comedy of the highest order and is available now on home video for endless enjoyment .
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another triumph for patty jenkins and gal gadot , wonder woman 1984 is not afraid to explore implications of loss and questions of identity alongside the usual fantastic action .
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such credibility and candor build honesty rather than showy magic .
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it's got a bebopping spirit that's difficult to resist .
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wonder woman 1984 is worthwhile mainly because its sense of hopeful uplift is genuine .
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ww84 shines brightest when gadot and pine are on-screen together .
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the movie's path is as predictable as jackson's , but it's beautifully shot and the idea is a good one - reversing the typical border-crosser-on-the-run idea .
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while it holds your hand through every emotional beatthere's earnestness and charm in this fine-feathered family story of hope and togetherness .
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if it wasn't so smart and muddled it could pass for a bond thriller .
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tenet is more of a base single for christopher nolan , although even his weakest efforts still provide an exhilarating jolt of blockbuster craftmanship .
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it plays more like the 1978 superman moviea bit more campy and a lot more fun .
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the best moments in the film come when the great andrew lincoln and naomi watts share the screen .
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[ skipping ] the studio's bread-and-butter 2d [ is a misstep , but it should ] entertain kids and adults alike with humor and magic before it fades away later that day .
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it's far from being the best studio ghibli film , but even with the incomplete plot , the magic of it all is enough to fill the soul with joy .
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though not for those of a queasy disposition , this red-blooded , southern-fried thriller soars off the back of a spectacular cast and antonio campos' tight formal direction .
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you know those lenticular pictures you look at and see one thing , then look at from a slightly different angle and see something else ? skyfire is like one of them . depending on your perspective , the movie is either middling or awesome .
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campos deserves credit for pulling those respective turns from his on-screen collaborators . equally as appealing , the way he contemplates the difference between religion and morality in an intelligent , fascinating fashion .
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there are , in all these globe-trotting deeds of cooperative derring-do , elements of geopolitical reality alongside the flights of fancy .
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earwig and the witch is a decent movie , and a prime example of style over substance . the music , the characters , and the aesthetic come together to outweigh the lukewarm animation and thin narrative .
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a big budget international blockbuster that really throws in the kitchen sink . there are cgi beasts , lavish production values , historical detail even if it is cgi enhanced ( what isn't now ) and it never slows down , not even for exposition .
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extremely violent sci-fi tale tackles war consequences .
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while it lacks some of the thrills from its predecessor , its hopeful message of fighting for truth is just what we need right now .
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the dream of the '90s is alive in the little things , a new serial killer thriller that's actually anything but new .
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like that pair of pajamas or sweatpants you wore a little too often for the past 10 months , there is a weary self-loathing in the comfortable monotony here .
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a beautiful mess .
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spooky and unsettling , director kourosh ahari's eerie suspense yarn the night got under my skin .
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thoughtful science fiction with a decent pay-off .
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campos creates a very definite sense of place , of oddballs and innocents infected by their environment . the area where everything happens , the big woods and small towns , comes across as a landlocked bermuda triangle .
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technically the film is a masterpiece . the production design is first rate and the various locations jump off the screen like three-dimensional postcards .
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'french exit' is strange , flabby , and hard to pin down , yet strangely rewarding .
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dripping in vibrant colours , everything from the lush art direction to elegant costume design pops off the screen .
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there's just enough here for 80 minutes of action , and liang keeps the thrills coming and the twists turning at a brisk pace .
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robin wright has a grueling role in " land , " and she has no one to blame since she cast herself .
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true story about trauma , grief is intense but uplifting .
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i feel like no man's land gets far more right than it does wrong .
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liam neeson is reliably fine in this standard but watchable action flick .
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very sweet and very fun . i think some of the stunts are a little bit dumb , but i had a lot of watching this .
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this is less the " taken " -style action thriller where we get to enjoy neeson showing off his special skills than it is a clint eastwood-style cranky old guy movie .
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denzel's still the man - the man who makes sure a movie is better than it probably needs to be .
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director conor allyn tells a potent story for our times , one made all the sharper by george lopez in a supporting role as a no-nonsense texas ranger .
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gadot is passable as diana/wonder woman , and it's her costars who steal the show .
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if you're looking for an evening spent watching vibrant silliness , one could do worse than barb and star go to vista del mar .
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there's no other way to say it , except : if you're a fan of the bold and outrageous , get on board with prisoners of the ghostland , and hold the f on .
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an eye-popping , oddball blast - imagine cage's previous psychedelic revenge thriller mandy crossed with the tellytubbies .
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if you give yourself over to this thing , it's a neon-lit ride worth taking .
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it has an incredibly tough film to follow on the whole , i think it's as good of a film as they could have done .
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garbled nonsense of a most entertaining order , it's basically a christopher nolan fetish film .
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it's inelegant , but so what ? patty jenkins has once again filled a dazzling , kaleidoscopic film with irresistible fun and perfect action sequences .
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this is a superhero film meant for the big screen but trapped on a smaller one .
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cage vs animatronic robots is as highly entertaining as it sounds . the scares are nonexistent but the creep factor is at 11 . it's funny and exactly what you'd expect .
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[ there are ] small moments that exude credibility but go hand in hand with others that don't .
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a sprawling and ambitious downer .
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rosi can get a lot out of very little .
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i liked it just enough , but it clearly should've been two movies .
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wright doesn't overplay one frame of land . instead , she allows the heartfelt connection at the center of the story to subtly tell the story of how a friendship can change a life .
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with her debut feature , writer-director emerald fennell creates a twisted , yet raucous comedy sobered by its real-life truths and made ironic by its sugar-coated color palette , a preference for pastel and floral that is both appealing and appalling .
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the destination makes the tedium of the trip worthwhile .
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none of its action set-pieces may be particularly memorable and yet it acquires a resounding consistency when it comes to mixing smart entertainment with a heroic epic .
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earwig and the witch aims to continue [ studio ghibli's ] tradition , but while it gets close , it feels unfinished .
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though there is nothing to match what we saw in atomic blonde , the action sequences are fairly well-mounted and regular enoughand never mind bad guys , why can't we have more bad girls , like the super-cool one theron played in f8 ? come on , hollywood .
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kathryn newton and kyle allen do have some very good chemistry together , and yes they do acknowledge groundhog day .
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this psychedelic paean to biodiversity and acceptance in a xenophobic world is alternately marvelous and messy .
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the quality of performances [ hancock ] gets from his three amazing actors is why i'm gonna give the little things an ei8ght .
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the sight of liam neeson eating pop-tarts under a bridge seems like a particularly 2021 mood .
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outside the wire borrows from many favorite 1980s action films but it also isn't a stretch to say that anthony mackie is the black terminator .
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a beautiful looking film with excellent performances from mulligan , fiennes and barnes , let down by a strange disconnection from the history , and too much time away from the main story .
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shadow in the cloud is an enjoyable popcorn movie that promises in-your-seat jumps with a handful of gender politics thrown in for good measure .
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but despite its flaws , land is still an enrapturing film . it inspires awe and respect for nature while telling a story about healing and death .
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it's not unappealing , especially for those who enjoy watching neeson go through his thriller period , happy to play crusty guys facing direct challenges to personal honor .
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one has to applaud a film whose main message is to have faith in people in a year when it often feels like humans couldn't be any more disappointing .
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skyfire offers substantial guilty-pleasure fun .
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hbo max brings a little bit of humor and a " look on the bright side " of quarantine life to locked down .
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ahari uses the hotel's interiors to brilliant , lynchian effect , playing with the way that liminal spaces create a stage for potentially traumatic transformation .
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a synchronous collection of horror tropes keeps up the pressure from beginning to end .
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