LegendaryLass

a FANTASTIC and fun Star Wars film with appeal FINALLY for the younger kids! The opening action sequence alone is up there with the best Star Wars moments and is worth the price of admission

navel-gazing vanity project. wouldn't you love to get this cast for your paper-thin roman a clef?

How is it possible these DC Animated movies and Watchmen adaptations both keep getting worse and worse?

An absolute blast of superhero fun! The plot is a bit meh but not one person in this cast is delivering anything less than an amazing and funny performance, and the fun set pieces never stop amazing! Marvel's streak remains unbroken!

One shouldn't be surprised at this point how women in superhero films are few and far between and generally treated like set dressing, but No Way Home bucks the trend of the other Holland-era films by being the worst treatment of women in years. A shame too, because the rest of the film goes out of it's way to be respectful and pay attention to detail to all the various returning characters and their stories. Some of the emotional beats feel a bit forced but in general it's a high wire act pulled off more than satisfyingly (for the men at least).

Absolutely amazing!! Maybe the best Act 4 in Marvel history other than Endgame and X2: high octane action, lots of heart and amazing surprises

An excellent teen romcom. Does not pull any punches and is light on the schmaltz while still being very heartfelt and sweet. As a tall girl myself, this is VERY accurate to the experience and the kind of representation I've been waiting to see in cinema my whole life.

Nothing about this film is reaching what it's grasping for; the acting can't live up to the writing and the mediocre photography is as uninteresting and overly bright as this story of suburban white **** kids in pleasant Orange County. The Elektra-complex-meets-American-Beauty wrinkle is underplayed and completely ineffective. To top it off, Cash has thrown a banal, bargain basement soundtrack and score on it. As we've seen with Love, Simon before it, the only way to make a story about **** teenagers inherently dull and unrelatable is to put white kids in a gorgeous suburb.

(We all are aware of the organized trolling campaign of user ratings against this film, right? So it should go without saying to take the user rating aggregate with a MASSIVE grain of salt, yes?) Much like Carol's comic book history, the plot of the film is complicated, more than it should be. The first half of the film is a write-off... for an alien warrior without a past, Larson plays Danvers bafflingly chipper and flighty and we're given a tonally bizarre 90s buddy cop (which appears to be the sole reason the film is set in the 90s, by the way). However, the second half is where the film shines. Interesting (though again, complicated) plot twists, mind-blowing fights and an amazing message of empowerment that will have you cheering. Move over Mr. Rogers, there's a new Captain in town!

Rapid-fire Alan Partridge in a big screen story is a glorious thing. This one will make you want to watch it multiple times.

It starts off as a well-performed, interesting look at the campaign, then quickly (and visually) skips over much of the details of the campaign and practically smash cuts to the scandal. From that point, the remaining hour of film is essentially the same scene: people morosely staring into space, wondering if this is truly the state of the world they live in and someone else giving a response that amounts to "I just don't know." Over and over. Like a dozen times. Reitman definitely seems to have a point of view regarding the press and role of political privacy and that seems to be "ummm... maybe?" Which is far from a satisfying movie experience. One thing that does come through is "Donna Rice paid an unfair price" but that is so briefly touched on and Rice plays so minor a part in this politician ruining her life that when you wake up from the rest of the film you'll have a sour taste in your mouth.

It's sweet, it's dry, it's sometimes surreal, but ultimately this is a very good comedy from New Zealand and we need more from these two ladies.

An absolutely firecracker of a film, sweet and touching while also being explosively hilarious and just a touch raunchy, much like teenage life.

Vice walks a difficult line... is it shedding light on the life and rise to power of Cheney or is it mocking him? The intention seems to be "both" but ultimately the film feels like it's making light of really troubling history and people in power. Scathing and snarky are not a good mix and McKay is over-reaching with his personal voice, adding no particular insight or depth to any of the precedings of this monstrous administration.

An extra 50 years hasn't dimmed Redford's Butch Cassidy charm any, but this film never quite moves beyond an tired, septuagenarian remake. It carries itself on it's charm but the potential excitement never manifests and it just sort of peters out in the back half.

The events of the film leave the viewers in the dark much as the parents' actions leave the son in the dark. A fairly well-told tale of a family falling apart but by the time you leave the theater you wonder why you bothered to watch at all.

As with all truly worthwhile films, it keeps you guessing and shocks you with its twists. Gyllenhall is an astonishing portrait of desperation.

A powerful, incredibly well-told tale of secrets and silent struggles in a marriage of the successful. Close is a revelation of quiet, tight-lipped nuance in one of the year's best dramas.

It seems a lot of woman comedians today don't know just quite what a wonder Gilda Radner was, especially given the role of women in comedy today. Love, Gilda provides a loving look at the life of Radner, with insight from her friends and family and even her personal journals.

Falco is rich and deep as always, but Duplass mumbles and puppy-dogs his way through his stumbling performance. Every plot point is under written and the whole film amounts to sort of a sad shrug.

An absolute joy of hillarity that takes smartly-written-stupid to next levels. Visually interesting and everyone is in on the joke and firing on all cylinders.

When the world needed it the most, Disney and director Rob Marshall gave us a true gem: an actual movie musical. Like the recent Star Wars reboots, Mary Poppins Returns mixes nostalgia with a fresh perspective and organic growth and provides some truly spectacular musical numbers. You will be humming these tunes on the way to the car and for years to come.

You can practically see the sweat flying off of Ferrell and Reilly as they struggle to mine the confused, lazy script for laughs. They mostly succeed but don't look for the ludicrous plot to make any sense.

Smith's performance is nothing short of masterful, even if the cinematography can't live up to the power of the story. It plays familiar beats with stock characters but has real heart and serves as a timely reminder of how much harder things used to be for LGBT people and how far they still have to go.

An exhaustive and insightful look into Fonda's life with impressive access. Paints a picture, good and bad, of one of the most important and interesting personalities of the last 50 years.

Excellent cinematography, but for a "genre-hybrid" the laughs aren't really there. The pacing is so slow that by the time you realize what the plot is, the film is almost over.

For such a critical and often overlooked subject matter, one can't help but feel that the punch has been pulled. While attempting to, one suspects, highlight the banality of this particular evil by quietly underplaying most of it, the film instead comes off as distant and nearly sleepy. Even the most horrific thing in the film happens off screen, minimizing the actual damage. Even so, the cast is good, the dialogue is there and anything that can shine a light on this timely issue is helpful.

Powerful and moving, Mary Elizabeth Winstead brings a depth of emotion and raw rage to her performance. Possibly one of the most important films of the year, we need more films shining spotlights like this one.

It's never uninteresting or slow, but this gorgeous film doesn't end up getting more than skin-deep. The conflict, while perhaps historically accurate, isn't ever terribly conflicting or challenging.

It starts as a genuinely compelling mystery with sharp humor but it slowly rolls over the finish line as a disappointing neither-nor: the laughs destroy the suspense and the audience is too busy trying to wrap their minds around the ludicrous story to enjoy the jokes.

A dreadful, cartoonishly over-the-top redux of Death Wish or The Punisher. Garner has moments of impressiveness as an action star, but the gore and awful acting will put off most viewers with any sense of taste.

If you can stand a lot of non-Italian actors in hair dye and over-the-top, stereotypical accents, there's quite a bit of charm in this cheesy romantic comedy with an impressive cast.

Firmly in the teen romance world, Boys walks a delicate line between sappy teen drama and actual, complex emotional dynamics. Condor deftly handles the script, making this one of the best teen dramas to come out in recent years.

There's never a plot point or joke the audience isn't ahead of the film by a mile, but Grammer and Bell have excellent chemistry and bring a lot of sweetness to what is essentially an 105-minute Royal Carribean commercial.

Everyone is this movie is trying their hardest but Christopher Robin fails to connect. Just about everything is underplayed or underdone, mostly by McGregor, and what should be a fun and nostalgic romp feels hollow and lifeless.

At multiple points, the viewer will likely be asking themselves whether what they're witnessing is Lee's humorous exaggeration or an accurate picture of active hate and bigotry. After they tell themselves "that can't be real," the revelation that yes, it very much is will hit like a hammer. Lee's tale is full of triumphs and tragedies, the greatest of the latter being reality.

Thought it feels a bit like a tv series that abandons it's premise too early, the internet proves fertile ground for Moore. Ralph Breaks the Internet will appeal more to teens and adults than kids, which is to it's detriment.

If Infinity War's problem is too many protagonists, Ant-Man and the Wasp's is the opposite: not enough antagonists. As in zero. It remains charming and sweet and has some visual punches but the shrinking and ant gags already feel tired. The cast is phenomenal and carries the film on personality alone.

While it's true that the point of the film is to have many characters and not waste time on development, it even so feels rushed and stuffed. This is Marvel visual spectacle at it's purest, don't come expecting any kind of real character development. But for what it is, it sure is glorious.

The irony of a superhero movie about too many superhero movies shouldn't be lost on anyone. If you're actually sick of superheroes the meta jokes won't let up here, it's more of the same thing they're satirizing. If you're ready for more, the absurdist laughs are here.

Don't let the nepotism turn you off, this is one of the year's true sleeper hits. Ostensibly about Izzy's relationships over the year, the so-called "Spectacular Men" are really a means to an end for a touching and charming story about family.

Visually intense and emotionally confused. DuVernay directs children well but a dedication to the already hard to understand source material makes for dull movie material.

Like any good documentary, it gets you to invest in the subject... then it twists it. Then it twists it all over again.

Another high concept comedy gone awry. More time and effort is given to replicating the real life adult game of tag than is put into any comedy. Overgrown adolescent men will probably appreciate the shenanigans, though.

Broken Lizard knows what side their bread is buttered on and the long-awaited(?) sequel to Super Troopers is a nearly beat-for-beat remake of the original with some new, updated jokes. Chandrasekhar's subplot is insultingly transphobic and just generally baffling as to why it was chosen. Despite all that, it does provide the laughs.

MacDonald offers no real insight into the decline and death of Ms. Houston, but the access to friends and family for her early years provides quite a lot of fascinating stories.

Cooper reveals his incredible competence as a performer and director (simultaneously, no less) and the music and acting will convince you. Gaga is unfortunately relegated to not much more than a foil for Cooper (and a rather passive one at that) instead of the force one would think she could have been.

No one would fault you for looking at Kunis' track record in comedies and being dubious, but this one is an outlier and the inverse: rather than being broad-appealing and not actually very funny, it's quite niche and shockingly hilarious. McKinnon is always a strong premise and the chase scenes are impressive.

Starting from a really great and original premise, the film is a competent and bitingly satirical look at race relations in corporate America and the art world, even if it doesn't quite stick the landing.

A bloated and wholly unnecessary story, think Rogue One's needless fan-pandering but with a dumber, duller story.