Dunkirk is the first film Christopher Nolan has made that feels bigger than the director’s preoccupations and obsessions.
Too often I find myself in the melancholy position of trying to articulate why a movie I ought to like doesn’t work for me. War for the Planet of the Apes poses the opposite challenge: This is a film that, on paper, ought to leave me cold, but instead seared into my mind like a house on fire.
At this point it seems like too much to hope for that any Pixar sequel, let alone a Cars sequel, should function smoothly from start to finish, but at least it ends well.
To call Despicable Me 3 desperate would be to ascribe too much effort and passion to the thing. Ice Age: Collision Course, now: There was a properly desperate sequel.
I have never seen a movie work harder or more hopelessly than Universal’s new The Mummy, not merely to launch a new franchise, but to jump from a standing start into a full-blown Marvel-style shared cinematic universe in one go.
No one almost destroys the universe or the planet, or even demolishes a large European city or a sizable chunk of a New York borough, in Jon Watts’ Spider-Man: Homecoming.
Movies like Man of Steel and The Lone Ranger misunderstand and besmirch their iconic heroes. This movie understands and reveres its protagonist. That’s worth a lot, especially today.
Copyright © 2000– Steven D. Greydanus. All rights reserved.