All Saints opens with the most familiar of pious Hollywood setups, the clergyman tasked with saving a threatened church (school, orphanage, etc.). Then something unexpected and kind of wonderful happens.
Kathryn Bigelow’s Detroit has an important story to tell, but what story is it?
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.
Dunkirk is the first film Christopher Nolan has made that feels bigger than the director’s preoccupations and obsessions.
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.
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.
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.