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Might be Nolan's finest, most bold, and invigorating movie. A drama that's an edge-of-your seat take. Some of its pacing was a bit much (and might've been better told in a linear way). But in the end, culminates to an experience that's unforgettable. The final hour is the best hour. Worthy of praise, oscar nominations and all the hype in the world.

An emotional, graceful return to Wakana filled with remorse and healing. The story was expected, from Marvel Standards, but the world they brought from the sea people was actually quite interesting and spooky. It was the resonance towards Shiri's struggle with the throne and the loss of her family members which gave this movie incredible life. I don't think its at Endgame level, but its certainly the most emotional they've done since then.

It's still riddled with the David Yates lack of urgency and lack of making things feel significant between characters, giving life and dynamic to the moment, and is lazy when conveying moments. There is a lifelessness to his directing, and only in transitions do you feel the wakeness after the slumber of execution you sit through. He isn't bad, he's just not a lively director. And for the last 3 films, it was felt incredibly. The movie has some powerful things in it, and I do believe is Yates' best outing yet. But as emotional as the resolve was, I didn't feel the impact, the heartfelt goodbye. Still is a good solid Potter movie that has some high stakes. But I felt Yates wasn't the right director to close out this series.

Marvel is becoming a dying breed. As it opts out for something relevant, and fails to bring anything emotive or resonant. I commend the filmmakers for trying to entertain us, but this has run its course and people can tell.

Wish we'd get more polarizing movies like this. Something this scarce is either accepted and loved (give it 9 oscar nominations) or discarded and reviled. A lot like this generation of viewing. There is not middle ground. This movie refuse to play there.

[SPOILER ALERT: This review contains spoilers.]

It's going to make money, and they'll make a sequel because of it. But it doesn't deserve it. Anyone with half a brain cell can recognize a carbon copy studio conjured product when they see one. Just a Thor Marvel ripoff, but much worse.

O Russel's audience expects too much and when they get something sub-part, they lack appreciation. When it does hold up as a spirited, charming and light0hearted introspection and espionage of that time. People don't want cinema I guess anymore, they're pushing it away pretty good. This movie reminds me why O'Russell makes movies, and what he goes for. It's not some constructed, agenda-driven rubric film. It's an artistic, romantic, thematic adventure. And I Loved it. Maybe not at the same dramatic level as Silver Linings, American Hustle, or the Fighter. But people need to have some appreciation, it's not half-bad.

I found myself scratching my head over who came up with the plot of this movie. It was just an endless action scene, that numbed everything around it. And the Dinosaurs just became minute to see. There was no wonder or awe. In the early parts of the film, I felt there was. But it's campy, over-the-top and overly rigorous. I liked the old cast, but this is just the studio and the writers putting this franchise to bed quickly, hastily and uncaringly because a good, slow, developed movie isn't what people want to see. Shame.

I didn't see it, just need a review because I made one up to try and be "credible." But I have a strong impression this is a 5.

The marvel boyband fans are here to praise. But what we have is a movie about a victimized person who puts his shame out there for the world to laugh at, and we're suppose to stand with him. I don't think the approach to the character was all that integral, but what holds up is Joaquin Phoenix's graceful performance. But i've seen better works from him in "The Master" and "Walk the Line." The aesthetic is pleasing nonetheless.

Light, fun, poppy. Going back to their roots of stylish and dynamic. It isn't always the most endearing and enlightening story. But its just good to see the guys back in action, and putting together a caper that might be their most dazzling attempt yet. Its simply a good time.

Undermines somewhat what Ocean's Eleven did with a more elaborate, confusing and non-sensible storyline that needs repeat viewing to understand. And somewhat forgettable. this movie isn't a lost cause. There's some unique style and tone going on here, and they're almost onto to something. But it never really carries through. But a cool vibe though.

Overrated, somewhat dull and boring. Even though Soderbergh's charm and the drama between the team holds up as rewatchable entertainment. It's a cool film, but lacking personality at times which the follow-up films have in spades. It's still a solid outing, and probably the most consistent and iconic tonal film of the trilogy. Not a classic, but it poses as one.

Rian Johnson does to Star Wars what we've needed, a sense of audacity, style and virtuosity that elevates the lore. But almost goes too far. And puts emphasis on the Resistance and their rendezvous (the least interesting part of the story, that never had an off-button), and became obnoxious and exhausted the movie. However, the style and tyranny the movie explored was unexpected and exciting. I would've preferred a more honed-in telling of the tale, focussing more on Rey and Luke's dynamic, but Johnson did bring something polarizing and admirable to the table.

Another Orient Express failure. It's modern charm doesn't twinkle with any resonance. Only here to dazzle cultured audiences, while it butchers a classic archetype. Its cast and visual adds nothing. A genre that's become a lost cause, unless Rian johnson is at the helm.

Wtf was that. A guy like this shouldn't have a happy ending. **** ending as far as I'm concernened. The movie doesn't encite any reason why this guy is sociopathic. We're just expected to go along, but even in the most sociopathic characters, there's some humanity that made them that way. I think the filmmakers missed the truth of the movie and i wish went for something more daring. Instead they scapegoated and sold out for something safe. Nightcrawler is an exciting wannabe attempt at a nifty thriller. But falls flat on its ass and leaves you with nothing to chew on.

The movie sometimes loses you and itself in its daze of transitions, but there's no question it allures you from start to finish. Diving into subtleties and memories that only add to the Godfather lore in a mesmerizing way.

An absolute masterpiece from its first frame tell the last. Coppola brought nuance and humanity to this world, while also bringing melancholy and grandiosity to the style.

This movie is a cocaine fest. I don't know what it's trying to appease, short-attention spanned clickbaiters, but the story doesn't land or transcend the way it could've been. Leo did all he could do, so does Laurence. but everything else is just a science experiment gone awry in terms of editing and resonance. It's not what i hoped, but there's some good moments in between that hold it up. Loved the premise, didn't love the execution at times.

It felt like the movie had no idea what to do with the story or the characters, or any of its existing lore except take the easy way out. Every flash and turn Episode 9 makes feels wrong and incoherent. Overly rushed, and wrapping up a story that never really got going unfortunately, it results in one cheesy final act comparable to Jurassic Park III. The movie isn't a joke, but it thinks it is. I'll give it credit for some visual sequences that dispel cinematic wonder and a tone that J.J. Abrams brings which reignites a life in this trilogy, but everything from the characters to the plot just felt out of sorts. Not a good movie, and perhaps makes more sins than it thinks it's correcting. Poor writing in this one.

What is this Lord of the Rings? 8.8? This is Derectuve Pikachu meets Kangaroo Jack. I guess peoples video game hard on, & lack of opinionated depth in today's modern entertainment audience continues to show. I enjoyed it, but this is no Masterpiece. I'd rather them make a legit video game franchise not some live action hoax. Have fun anyway. Time to bring this rating down to a realistic setting.

Green mile is unfused with sentiment, maybe too much. It's well made, well acted, well conveyed. But much of it drags and becomes too revelatory to appease greatness in the likes of Shawshank in Darabont's unique filmography. BUt it surely offers substance.

Joy is flush with cinematic freshness and magic as it's keen impression leaves you with the inspiration & perspiration to go and live out your life with confidence. Joy blushes with the strongest of lights and easily ranks as one of the best movies of the year.

Spielberg's caper runaway adaptation of Frank Abignale couldn't be more thrilling and irresistable. Carried by near perfect performances by both Leo DiCaprio and Tom Hanks, it's a cat and mouse game that works on all levels of comedy, drama, romance and suspense. Leaving a film that reeks of rewatchability and influence.

WHen it could've worked better as a grueling, tragically romantic indie-pic (which not to lie, i thought it was) turns into a happy-go-lucky Chris Columbus tale for the whole family, when i realized it was directed by Spielberg, it came to no surprise. BUt as magical as it comes off, doesn't ring with the same level of wonder as similar toned films such as "Catch Me if You CAn" or "E.T." Mainly because Hanks' character and the world in itself doesn't have enough dramatic juice to keep the steaks rolling, even though it plays like it does. In the end, you begin to retreat the hope and wonder that "Terminal" could've been a masterful exploration of an unnacepted immigrant and just fall into the seemlessly in-the-motions romancity that it plays off, so you go home with the splendor like it's Christmas Eve but without the substance it teased at providing.

The worst of the 3, and shows why the Hobbit would've been better as two films. Battle of the Five Armies, while it brings the magic, the wonder and the melancholy we love from Peter Jackson's middle Earth films, it just feels like an over-run afterthought. Battle sequences carried out for no reason, and a story that didn't really have sense in being over 2 and a half hours long. It still delivers, and it's love tale between Tauriel and Kili that kept me awake. But all in all, over-extends a story made to be a 3 hour epic. And man it should've been.

Desolation of Smaug picks up the pace and enthralls us in maybe the most enticing parts of all the book, and leaving us in a place of perfect disclosure. But it does seem to drag from moment to moment, but equally gives us an insight on what this trilogy could've been had it just been 1 or 2 films. i found myself connecting with this one more than the first due to the power of a love dynamic that brought a new found life in this story, Tolkien never intended on exploring. And the Dragon, voiced virvaciously by Benedict Cumberbatch, elevated the movie to an unforgettable level. But in the end, it's just a shade better than the first being the most intruging part of the story, but still carries the same issues in length and over-conveyed character exposition that makes it lose it's mysticism. But a fine sequel nevertheless.

What a heartwarming return that's only flaw in being too long is somewhat contradicted as being back in this world isn't something any fan and moviegoer of the 21st century would wish to cut short on. But it's characters and backstory seem to have a beat too many in terms of exposition (making it less mysterious, and therefore less surprising). It's just such a wonder to be back in the visionary interpretation of Peter Jackson's Middle Earth again, even if it's length does make "An Unexpected Journey" seem more than it needs to be.

We just don't get movies like King Kong anymore. That breath with that sense of cinematic wonder and feel like they're made from that place of childhood imagination, and enlivened with an adult-like attitude. It's not only the best Kong we've seen, but it's the best interpretation of the story in cinematic history. The characters are rich, the relationship between Anne and Kong is empowering, and the adventure is as good as it gets. Peter Jackson is the king master of the fantasy genre and continues to prove his worth.

You simply cannot put into words the sheer emotion, build-up and pay-off Peter Jackson gives us in Return of the King. Not a single moment isn't untouched with pure magic, as if the filmmakers were capturing their last moments in cinema. Nothing can even touch the power this movie reaches in terms of struggle, overcoming obstacles, and even reconciling from it's trauma. This is one for a century and a generation to cherish. The Lord of the Rings marks the greatest trilogy of our time, and the greatest memory to revisit.

Even if Two Towers doesn't match Fellowship with the same level of enticement or Magic, it still brings so much to the table, enlivening it's heartfelt focus of danger within it's heroes like never before. And it stands tall as a measuring stick of fantasy films and carries an undeniable breath of heroism and bravery that gives this trilogy and it's characters a sense of adversity to make it's ultimate pay off become something more than just getting the job done. Peter is creating depth from friction, and it's setting for a wondrous finale.

An example of pure wonder in preface, prologue storytelling... divulging you with authenticity and richness in exposition and story that most fantasy films pose to have. Fellowship of the Ring is the real deal and mark of greatness in it's genre and class.

El Camino is ravishing, captivating in its every breath. A follow-up tale that keeps you strung on every beat as Jesse seeks freedom from the excess of his hell. But I wouldn't say it's the movie you expect, as it lingers far too long on flashbacks made simply to emphasize Jesse's pursuit in a film that's main story carries very little momentum for a feature length film. And the end the result just wasn't as emotionally endearing, mainly because there was not enough conflict or momentum focus between him and the police. The movie was a flachback throwback escapee film, but had Vince given us an adverserial police character, connected to the Walter White investigation months prior to Jesse's escape, it would've brought more resonance and a sense of intrigue rather than the forgettable hippies they gave us. And it would've forced the film to spend much more time in the moment than in the past. But in the end, El Camino is a breath of fresh air, a throwback and a solid Jesse Pinkman send-off tale, but it's certainly not the vivid thriller i was expecting.

Heat is a steaming, polaryzing, long-ass sit through one of the most dramatic, suspenseful and gripping crime drama thriller's of our time. A headmatch between two of the greatest actors of their time. But the movie steams so long, it somewhat loses it's tension, but never it's flare for dramatics. It's no masterpiece, but it's surely worth the watch.

A masterpiece and Cuaron's finest work to this day. It's theme and premise is brilliant, and it's journey is polarizing. Everything about CHildren of Men screams masterpiece. it's atmosphere and echo of truth carries a richness unmatched in its time, and is the kind of movie filmmakers, original storytellers dream to come up with.

Modern blockbusters need to take a page out of Dead Man Chest's book. A stupendous fun ride, with visual pizzazz and a strong level of pace and narrative. It doesn't disappoint or bore. It's the full package, and I think is one of the most underrated blockbusters of our time.

QT's love of Hollywood is on full display, and you fall for its allure easily. Some of the best moments are the back-seat shots, driving through the hollywood hills. However, as far as the main plot was concerned, it wasn't all that interesting. Dalton's character was more of a pouty crybaby who could've gone through a transformation, but Taranitno decided to brush through those things because this movie plays more like a long nostalgic music video than an actual story with characters. The ending and final part of the movie really draws you in, and it ends poetically. But a lot of times I felt it expected its greatness instead of earning it.

Order of the Phoenix is one I go back to because it captured a nuance, an energy in the lives of these characters with a maturity, essence and resonance that the previous movies only had in pinches. Yates really brings it home, and gives a nurturing vibe to the whole thing. And made me really a fan of these movies, when I was only half-way in before. Not a masterpiece by any stretch, but certainly a good, rewatchably-ranked Potter flick.

Epic, fierce and leading to a more bolder, adult vision. Harry Potter and friends are thrust into the rambunctious sensibility of Mike Newell's touch and it results in the most emotional, comedic and energized Potter film yet. That doesn't mean its the best, but its definitely the most appealing.

Just a spectacular movie. Cuaron puts the edge into Harry Potter and gives it a new breath of style & craft that awakens new boundaries and evolutions to the story and world. As we begin to mature with the characters and the world they're in.

Chamber of Secrets is not some standby to Philosopher's Stone. If anything t's darker, scarier and the mystery and wonder of this chapter always got to me. It does have a straight-to-dvd vibe and comes off as hokey at times. But it's one I revisit more often than not, I like the story and the mystery.

Both deeply enriching and wondrously enchanting. Chris Columbus puts the "m" in magic and makes Harry Potter the introductory chapter it needs to be and more.

Lucas wrote himself into a corner, leaving a lot for this movie to do. But if you just roll with it, there's an extremely, exuberant, fun and electrifying, emotional Star Wars film here that's always worth going back to. The best of the prequels.

Greengrass ups the anti and gives us not only the most invigorating and engaging chapter yet, but explores character and new, more enticing storylines that lends to being a much more complete and ferocious Bourne film. Buckle up and enjoy.

Supremacy is a much stronger take and visceral vision in the hands of Paul Greengrass who, even though makes the sequel quite shaky and passive, offers up moments of real character emotion and high-caliber craft that makes us truly believe.

Swift, suspenseful and undeniably intriguing. Bourne sets out a story and a character that is both easily rewatchable and easily accessible. Driven with decent pulse, it's the relationship between Jason and Marie that give Identity its true identity. As it still feels like it hasn't quite reached its peak form as a series of films quite yet, but it's close.

A masterpiece that if released in any decade in cinema history would be revered. That's all I have to say about this piece of work. It's a phenomenal groundwork film for anyone knowing how to create atmosphere & style into a film.

Phantom Menace is a solid combo with way too many side orders. Everything involving Anakin and Qui-Gon Jin's characters enliven the truth and splendor of this prequel kickstarter, but is surrounded by an influx of overly-compressed and exaggerated imagination, that benefits nothing but its own financial marketing scheme. But aside from all the child-actor whine-cries and Jar Jar binks, holds a decent enough story to revisit from time to time.

The Departed is a harsh, rash, excessive and mercilessly epic crime - cop - gangster tale that's as magnificent in craft as it is in raw entertainment. Scorsese fuses wondrous style with high-octane captivation in his finest directorial outing since Raging Bull, and keeps pulling the punches until the shows got nowhere to go. I'm not saying it's Scoresese's best or most glorious of cinematic achievements, but for the modern era gives us starving moviegoers something to really chew up and never want to spit out.