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" outside the wire " passes the time , and there are worse crimes than being watchable and disposable .
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like with other christopher nolan films , it will take multiple viewings to fully realize the scope of tenet's groundbreaking accomplishments .
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[ director antonio campos ] does do a good job of evoking a sense of space and place however , in the end , that strength is also the devil all the time's weakness , striving a little too much for style over substance .
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for people who might be intrigued by a story about warriors who are still trying to figure out their lives after living and fighting battles for centuries , the old guard offers an immersive experience into that world .
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[ a ] small , vibrant drama , even when it gets overloaded with some needless plot baggage .
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everything arvin does is a tour de force .
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the film sees wolves and sheep - those who wield faith as a weapon and those who succumb to it - and nothing else .
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tenet features all of the big ideas and spectacle you want from a christopher nolan film , but it's also far more confusing than it needed to be .
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to write this off as a retread of a field in england may seem tempting from the outside , but this is a deliriously entertaining companion piece .
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gina prince-bythewood flexes new muscles while charlize theron beats bad guys bloody with her own .
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promising young woman is not only beautiful , fun , and never boring , it tells an important story that kicks everything movies told us about sex and its relationship with violence in the teeth . it's the most fun you'll have while shivering with angst .
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despite its conventional , problematic , and at-times tedious first half , the story eventually finds its footing halfway through and delivers something new and emotionally rewarding .
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the result is lively , playful , and busy - in a very good way .
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the production delivers a diverting endeavor with pleasingly smashmouth encounters and a driving plot .
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i highly recommend this for kids , no question .
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michelle pfeiffer still got it , man . her performance in french exit proves that she is one of the best working actresses in the business today .
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while it's not a celebrated or highly entertaining form of art , the introspective approach here was appreciated . a top notch cast sure doesn't hurt either .
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locked down takes us back to a pretty rotten time - a time we've not yet truly been able to put in the rearview - but it has a pretty good time doing it .
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a glitch in the matrix highlights the passion of keyboard intellectuals trying to prove we're living in a simulation . they might not be more convincing , but they're a lot smarter .
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as directed by kevin macdonald ( " the last king of scotland " ) , it's a steady , compelling accounting of events that intends to leave you infuriated and succeeds .
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a by-the-book police procedural drama that doesn't stand out much , but the talented cast elevates the material enough for a mild recommendation .
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all of the usual lessons fall into place here , but biggest observation here comes down to a universal truth too many of us forget - it's not always about you .
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pfeiffer , in a performance for the ages , makes an indelible mark . her frances is an instant cinematic icon .
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it's a flighty , fast-paced , vibrant romp across fields , through stately homes and around ballrooms . each scene is like a beautifully constructed old master painting .
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with a straight to the point , simplistic save the world style , that can get too drowned out with mindless action , this tag team struggle through urban warfare may not be a very memorable experience . however , that doesn't mean it isn't a fun one .
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though this experiment isn't a total success , i appreciated its stubborn insistence on engaging with the current moment , this unsettled and complexly miserable moment in time .
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there's something comically purgatorial about where french exit ends up , yet the movie has a certain oddball warmth , too .
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promising young woman wants to push buttons and provoke reactions . it's a scorching indictment wrapped in a sophisticated revenge fantasy .
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the same elements that made " wonder woman " such a pleasure to watch are present in " ww84 , " including the supremely self-possessed gadot , who plays the title character with the same grace and understatement she brought to the initial installment .
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brothers by blood is light on fresh ideas , but matthias schoenaert and joel kinnaman's standout performances help the movie overcome its tropes to become a compelling , if somewhat forgettable glimpse into the gritty world of crime in philadelphia .
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though personal growth and emotional depth are hardly necessary ingredients in a spy thriller with so much else about nolan's script a mental exercise made real , some emotional stakes would be helpful to bring it alive .
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the movie's opulence seems specifically programmed in a time of emptiness , a welcome , overstuffed epic attempting to course-correct a vanquished summer season .
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i loved watching gadot in wonder woman 84 and think she makes me invested in a lot of scenes that would not work otherwise
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mohamedou is a tricky character , since we only get glimpses of him and he makes a lot of mistakes , but rahim invests him with integrity and courage
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rahim noses " the mauritanian " just over the line into the realm of a mild recommendation .
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little fish is a sad romance filled with so much amazing emotion it's impossible to forget it .
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while the devil all the time might not live up to its full potential , it's thought-provoking and may stick with its audience for a while .
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if you're looking for an uplifting , punch-the-air hit of superhero cinema in the hellstorm that is 2020 , wonder woman 1984 delivers with bells on .
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the little things is a movie with something to say . though it stumbles on the execution , you have to admire the effort .
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wonder woman , among the few actually interesting dc icons , had the good luck to find someone as perfect as gal gadot to wear the cuffs , yet even she could just barely save a largely soulless , wonderless film .
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while it may not prove to stand the test of time , it has an immediacy to it that cannot be denied and the way that it applies that moods to a caper film template is undeniably intriguing .
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you realize that this documentary exists in a world that actually has no reality in it [ director rodney ascher ] is really driving home the point that we're actually all living in such an artificial world that we've accepted as normal .
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once the leg warmers and shoulder pads get out of the way , the movie finally begins to take flight .
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an admittedly overlong yet consistently engrossing drama
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it's familiar material , but fisher stevens' fine drama proceeds with care and compassion , using excellent performances to help create a moving , thoughtful , and inclusive experience .
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the movie is barrymore's , of course . even after the initial jolt of seeing her as a cursing hellion and an ambitious hanger-on wears off , she does not disappoint .
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a messy , mind-blowing collision of philosophy , technology , religion and fruit-loop paranoia which , while it doesn't exactly make a watertight case , does provide a fascinating insight into the thought processes of those who believe it .
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the film is technically excellent , with jaw-dropping action and clever plot twists . action fans should be more that delighted with all that , which is brilliantly executed .
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washington is decent as the protagonist but not as good as he was as ron stallworth in blackkklansman .
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the rest of the movie plays out as you guess it might , but the quality of the acting is good enough to mostly make up for the script's lack of subtlety .
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an ambitious , complex animated film that , despite a lot of stumbling blocks , is extremely provocative and impressive .
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rosi's compositions , static and mostly wide angle , are ennobling , albeit ambiguously . life is going on , but not as usual .
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anne hathaway and chiwetel ejiofor shine in doug liman's smart and entertaining pandemic heist movie , seat-of-the-pants filmmaking at its most inventive .
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hats off to zoe lister-jones and husband daryl wein for writing , directing , and completing a funny , off-beat film during the covid pandemic .
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must a movie be good ? can it not rest its success on the luxurious power of pedro pascal's hair alone ?
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is 'prisoners of the ghostland . ' as he claimed , truly the wildest movie nicholas cage has ever made ? if not , it's certainly in the running .
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as much needed escapism , gal gadot cements her super hero status with a stunning and earnest performance . but patty jenkins' second turn directing this dc franchise devolves into a confusing jumble with a simplistic moral message .
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a nice little way to spend 90 minutes , especially if you're looking for a romance this weekend .
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a serial-killer thriller reframed as a slow-burn mood piece more consumed with character and smolder , perhaps , than in the payoff of its central mystery .
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like frances , it manages to draw us in and make us care about people that we might otherwise not want to care for . i'm a little upset that i enjoyed french exit as much as i did , and perhaps that's the point . that's its magic and its fascination .
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nolan's homage to the spy genre is a globetrotting epic that features some well-crafted action sequences that help gloss over a plot that sometimes gets a little convoluted for its own good .
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has a brutal honesty .
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penguin bloom makes for a solid and heartfelt movie , though the most memorable thing about it is simply covered in feathers .
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goofy , but it never defaults or cops out on thatyou gotta take this for what it is , which is a lot of fun .
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ww84 , while entertaining and frequently funny , lacks the propulsive drive of its predecessor .
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even if far from being top-tier ghibli , it's not without its fantastical pleasures .
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it's heavy on the treacle but moving , nonetheless .
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the dullness of its story is counterbalanced by set pieces action fans will never stop talking about - for better or worse .
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first time director robin wright shows promise with this gorgeous looking , yet safe drama about grief and life .
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you can watch " bliss " in a number of satisfying ways - and that's not something you can say about many movies .
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as art or as exhortation , it's a huge success . but it's absolutely not a good date movie .
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something like the epitome of [ nolan's ] temporally twisty canon , distilling his many cinematic signatures and preoccupations down to their entrancing abstract essence .
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if you get past the eccentric action and wonky digital compositing , then you'll likely have a blast . otherwise , it's gonna be a somewhat bumpy flight .
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prisoners of the ghostland knows exactly what it is , but that may not necessarily be a good thing .
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a thrilling , moving story about immortality -one that understands the strain ofemotionalcomorbidity , illustrates how kindness and conscientious choices truly reverberate and features charlize theron burying battle axes in bad people .
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fiendishly gripping
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there's plenty who will dig this silly , seemingly spontaneous , and genuinely pleasing film
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when something like dash shaw and jane samborski's cryptozoo comes along , it's easy to recognize as one of the most gorgeous works of american animation in ages .
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each performance is vulnerable , sweet , and funny on its own , but together , they're simply magic-like two sisters who know each other so well it's hard to tell them apart .
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at the end of the day , it's a fever dream unlike any you've seen .
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even if you suspect slahi is guilty , you still can be angered by the inhumane treatment he receives at the behest of government officials who are more interested in closure than the truth .
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there is a quiet simplicity to the telling of this inspirational story which really resonated with me and watts and house really bring home the bacon , elevating proceedings even more .
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pretty empty entertainment , but it is entertaining - in a rather sordid , guilty-pleasure kind of way .
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in the earth reminds us that there's so much more still to fear in the invisible darkness of the natural world -- things that our little animal brains can barely grok in all of its terrible splendor .
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here's great family fun viewing for all , with dazzling special effects and non-stop action-the back-and-forth banter between the superhero kids feels 'on the nose' as we are privy to their inner thoughts .
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this film has the unenviable task of proving its story's importance in spite of the egregious systemic flaws it chronicles and exposes .
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what happened to wonder woman ? she hardly turns up .
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earwig and the witch is a slight yet amusing little trifle that may not rank high in the pantheon of studio ghibli . it yields its own rewards due to its amusing comedy , oddball characters , and its genial sense of fun .
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it's a wild and bats--- feast for the eyes , though you probably shouldn't expect too much more out of it than the good time you're definitely going to have .
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for a writer often accused of being humorless , this may be his most playful script , often arid in its dry humor , and much of it provided by pattinson playing an inverted felix leiter to washington's stoical bond riff .
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a delicious comedic thriller with a stellar central performance .
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the concept of " time inversion " that nolan developed is mind blowing being like nothing we've seen before on the big screen , but he fails at simply mixing sound dialogue correctly .
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much of it is exhaustive , some of it clunky , with enough sections that remain escapist fun .
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when everyone involved is obviously having the best time possible , the infectious atmosphere of joy , comedy , and romance is impossible to ignore .
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silly , silly movie . but gal gadot still has our hearts .
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wright claims a spot as a director to keep a firm eye on . her vision behind the camera is exceptional for a first-time filmmaker .
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while there is much to admire here as an action flick , the fun of its predecessor is far less in evidence as wonder woman , aka diana prince , negotiates the big hair , spandex , and greed-is-good ethos of 1984 washington d . c .
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macdonald constructs a capable ensemble piece around his resonant true story .
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justin timberlake and ryder allen are a joy to watch together in palmer .
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the creepy chill of this engrossing portrait of male obsession , anxiety and regret is enough to make the hairs on the back of one's neck stand at attention .
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