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Heartfelt and action-packed. Suspenseful even though you probably feel like you’ve seen this one before.

Entertaining, fun, unique. Feels like a video game plus some not-so-subtle social commentary.

Fargo and John Wick meets woke propaganda. Starts intriguing but quickly becomes totally unoriginal. Over the top violent film that has little of importance to say despite dialing it up to 11.

Shot on film - looks unbelievable. That is pretty much the only thing going for The Death of Robin Hood. Reimagines the outlaw as a despicable, murderous criminal, who is now an old man filled with pain and lifelessness. The first half is ultra violent and feels as if it could lead somewhere. The second half comes to a screeching halt and lays down for a nap. And then nothing really happens.

Solid historical drama. Dialogue driven, yet the weight of the situation is felt. The weather has never been more interesting. Good, not great.

Entertaining and forgettable. Full of narrative cliches and poor-CGI sharks. Typical Hollywood fun summer slop.

Epic, fun, suspenseful, wholesome. This movie is why you go to the movies. Some minor issues trying to consolidate plot points from the book. Overall, a triumph.

Story was interesting enough that this could have been good, but the acting was robotic and the cinematography clunky. I’m not sure how this straight-to-streaming tale ended up in actual theaters.

A bit disappointing. More weird than scary. I found myself wanting it to be over, as there wasn’t a whole lot to draw from the story, except “well that guy had some issues.” The end.

Amazing piece of filmmaking. Suspenseful and captivating look at the topics of justice and revenge. It’s also a fascinating look at life in Iran, with bold political statements made by the director. A little slow at times. The acting is superb, with many of the actors not being professionally-trained, this was surprising. One long climactic scene is creatively shot with no edits - you have to see it.

Tries to be a slow burn, instead it’s just lifeless and boring. There is no real conclusion, and the moral of the story is “well shucks, life ****.” There is also a twist that is so gut-wrenching, it is too much. This pivotal scene sinks this already-doomed movie.

Fun, stylish, and forgettable. Jewel thief with a heart of gold. Fun chase seen. This film also has one of the all-time worst scenes I’ve seen on screen: The jewel thief meets his love interest (when she rear-ends him badly), and in their first conversation, she randomly calls some toddlers “real pieces of s*** ” for no reason. Hilariously bad dialogue that takes you right out of the movie. And then the jewel thief is like, you know what, seems like a keeper, can’t drive and hates kids, so I think I’ll call her. Yeah, it’s that kind of movie.

Unique story that is entertaining enough. Good action scenes and pacing. The one-too-many twists and turns reach Guy Ritchie-level, minus the humor.

[SPOILER ALERT: This review contains spoilers.]

Tries to be Tarantino in Space, fails miserably. I was checking my watch 30 minutes in. Wanted to walk out, but stayed so I could leave a review. Lacks any real drama or intrigue, and the jokes do not land. Packed theater opening night in IMAX…not a soul was laughing or reacting to this slop.

Brilliantly shot, well-acted mess of a movie. There is a car chase scene that is an all-timer, yet the story is just off. ANTIFA are the heroes, and Anderson wants you to root for actual terrorists. This guy has technical brilliance, but his story is empty, polarizing, and vapid. I think this would have been considered edgy about 10 years ago, but it’s heavy-handed woke message doesn’t land. Not even shooting on real film could save it for me. Early on, when an actress is screaming nonsense gun-in-hand, walking in high heels across a bank counter, it feels like a parody. But it’s not - it’s dead serious. And seriously bad. If John Oliver tried to make a politically-charged thriller, it would look like this.

Almost feels like a comic book come to life. Visually breathtaking, and the music carries this story. There might be a total of 5 lines of dialogue in the whole movie, and somehow it works. You can understand the plot, feel the characters, and appreciate the spectacle. This film might be the best ever to capture "slow-motion emotion" on screen. Truly unique. Whether intentional or not, this film is a rebellion against the Netflix-plot-repetition-hijack culture. It forces you to put away your phone and all distractions, because the plot must be SEEN. And it looks great. Potsy Ponciroli (Old Henry) is a director to watch in the future. And Ben Foster is as incredible as ever. The film's unique mode of storytelling is its biggest draw. There is a fight scene in an elevator that is wild and clever and brutal. You can't look away, and then (oh boy) you have to look away. The revenge plot is pretty generic, and this slow burn becomes entirely too violent for my taste by the end. You've seen this story before, but then again you haven't. And that's why this movie is worth watching - not for the Who, What, When, Where, but for the How.

All the things that make Nolan great are present. All the things that make Nolan frustrating are also present. At the end of the day, the great outweighs the frustration, which is my general takeaway from most Nolan films. It is grand, bold, and suspenseful, while at times it also feels boring, rushed, and hollow. There is a masterful monologue shared from Odysseus after the sirens that will stick with you, but there is also a laughable line later where Odysseus self-references the Bronze Age and its ending. The score is authentically sweeping and epic, yet the characters speak in a casual and modern vernacular. The gods are there, but somehow also absent. Yes, there are casting and costuming issues, and there were several meaningful changes to the story and themes. The Odysseus on screen struggles with guilt, not hubris. He is less authentic - yet more moral - than the Odysseus from Homer's tale. The "shot entirely with IMAX 70mm cameras" claim is also not a gimmick. It is probably the biggest accomplishment in film in decades. I saw it once in lie-max, and a second time in proper IMAX 70mm. The difference was massive - the way shots were framed, the size and terror of the Laestrygonians, the hills, the beaches, everything looks majestic with this ratio. It goes without saying there is more than just a "film look" here, as it is actual film...never been digitized, aside from color-grading. This accomplishment on its own would make the film worthwhile. Sprinkle in a mostly decent re-telling of The Odyssey, and combined you have a good film. Not great, but good.