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[SPOILER ALERT: This review contains spoilers.]

Many horror film remakes succeed by simply honoring the past and thriving in the present. This remake fails at honoring its past while also spitting in the face of its present. In other words, this film is a failure.

A surrealistic nightmare plagued by haunting visuals, a dreary soundscape, and skin-crawling tension. Most of today's modern atmospheric horror films likely take notes from David Lynch's work on this film, but very few will ever equal just how unnerving and disturbing a first-time viewing experience it really is. Best viewed at night with no light, thunderstorm and pattering rain are optional.

Honest in its goofiness and beautiful in its approach at bringing Norse mythology to the big screen, Marvel's Thor is a huge step forward in bringing the epic and fantastical into the MCU. While it can appear rather tame and slow, it's primary goal is in establishing that there's more to the inner workings of the MCU than merely what's just happening on the surface level.

If there was ever a movie that proved sequelitis is in fact a real thing, it's this. Providing nothing new while simultaneously adding unnecessary back story and characters, this movie struggles very hard to sell itself as a mandatory component in its own mythology. The need to simply exist is lost within the first half hour and remains consistent with that approach for its entire duration. Lady Gaga's role is equally as wasteful. While her performance and interpretation of Harleen Quinn is passable, there's nothing here to justify an specific reason why she's exactly required to exist in this universe. The writing simply doesn't allow her to breathe naturally as much as Arthur does. While it fails on a story level, the technical approach behind its creation is worthy of inspiration. The camerawork, framing, and most notably a handful of visual shots really lend to what is clearly as much an inspired piece of work as the first film was, crafted and shot by a director who knows how to frame moments of genius, even if what's in the frame isn't exactly as inspired. Ultimately this is a soulless attempt at cashing in on the massive success that was 2019's Joker. The technical beauty can't help save the ugly mediocrity.

While the animation has certainly aged in some spots, there's no denying how groundbreaking this film was back in 2000. New tech that was used for the first time to help achieve some of the more beautiful 3D effects, the BSP-like effect with 2D and 3D characters. It was all a treat for the eyes. And although the script might not have been the most original or exciting, it's boosted by terrific performances (particularly by Bill Pullman), a magnificent score by Graeme Revell, and an unforgettable soundtrack.

While this film had the impossible task of retconning The Last Jedi and correcting the trilogy's dues, all the while capping everything from the prior trilogies, it gets it done in splendid fashion. The story of light and dark coalescing into one and snuffing out true evil once and for all is a captivating one, and the perfect way to finish off this story. Ben and Rey's story is brought full circle. Luke and Leia's story is, quite literally, brought full circle, bringing a proper end to the Skywalker lineage. While I don't appreciate all of the creative decisions in The Last Jedi, RoS helps bridge that appreciation for the whole franchise. It does justice to the characters and to the fans who don't go to the cinema to be challenged, but who go to love a good story and Star Wars. I have spoken.

Many horror film remakes succeed by simply honoring the past and creating its own image. This remake fails at honoring its past while also spitting in the face of its present. In other words, this film is a failure.

The best way to describe this film is soulless. It looks stunning, but the realistic animation shows its limitations when the characters can't express themselves like in the 1994 original. Factor in a play-by-play copy of the original, with very few added scenes, and you've got a soulless adaptation of a far superior animated classic.

The greatest thing about this film, from the opening text scroll leading into the very first scene, is how Lucas' legacy continues to expand and his vision becomes grander. Every facet of this film, and that means every small detail, is finely tuned to fit into this ambitious universe-size puzzle.

A premiere centerpiece in both the science fiction genre and in the history of film. There's no going back after you've watched it; George Lucas' ambitions are clear and undying, and his vision will undoubtedly bring joy to hundreds of generations to come.

This is classic example of Hollywood's latest attempt at being creative: a dumb plot, dumb exaggerated characters, throw in some of the latest pop hits, a little self-awareness, and you've got yourself Mr. Right. There's almost nothing here to salvage outside of a decent performance by James Ransone and some good chemistry between Rockwell and Kendrick. Also, Tim Roth is utterly wasted in this movie. Take his character out and maybe, just maybe, it may have been a 4 or 5.

Most people will rate this film because of its ridiculous plot twist, but what most won't say is that it's genuinely insulting. The film obviously builds up to something that it wants to surprise the audience with but it plays like an adjatation instead, like it expects the audience to know its grand reveal ahead of time. It's bad, and it hurts the film in ways most don't expect or want to admit to. The only positive mark on the film is the soundtrack, which, ironically enough, is full of serenity and plays out like a peaceful dream.

Scorsese's latest masterpiece is also his most ambitious work to date, a tour-de-force of historical intrigue, compelling performances, and a razor-sharp script. While the 3 1/2 hour runtime may be a detriment at first, it quickly becomes irrelevant as each scene slowly unfolds into the wider narrative, culminating in a final hour climax that is some of the best cinema ever to be filmed.

This is what contemporary mystery films are and should be. Classic whodunit with a contextually rich script, characters dipped in reality, and performances that help sell the product. While the plot twists, of which there are plenty, serve to spin the audience's minds around, it's the board game-esque approach to filmmaking that wins the prize here. Every piece inexorably moves towards its conclusion, and it's in how those pieces interact, intersect, and often times interfere with each other before it's all said and done.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

Louis Leterrier's The Incredible Hulk is an anomaly. Without a lasting legacy to leave behind, the whole film feels rather pointless and unnecessary. However, the story it tells is one that comes full circle in the span of under two hours. It's a complete story filled with great character interactions, awesome spectacle, and hard-hitting, but limited, action sequences. And although Edward Norton's performance was a one-off, he does an admirable job at bringing conviction to Banner. The eventual recasting of Mark Ruffalo, and the bleaching of the film in general, makes it such a strange movie. The ending, while somewhat reference in later Marvel endeavors, feels wasted and Dr. Samuels, aka Leader, feels even more-so.When recapping the entire saga, this is the single film that feels utterly awkward to view, despite the complete script.

The film that started it all, Jon Favreau's Iron Man is a film driven purely by heart, style, and finesse. A proper introduction to Marvel's titular hero, we're given an impressive visual understanding of Tony Stark's lifestyle, wanton personality, and eventual spiritual rebirth that shapes him into becoming Iron Man. This is all in part to Robert Downey Jr., who will undoubtedly go down as the greatest casting call of all time. He is the living embodiment of everything Tony Stark should be, and the film's primary objective should be to realize and draw upon that. And it most certainly does.

Although boasting an unnerving atmosphere and some disturbing visuals, the average horror aficionado will likely find little to no interest here. There's just not enough to invest in, outside of Armie Hammer's decent lead performance. While the callbacks to H.P. Lovecraft are here, the narrative infrastructure falls apart under the weight of shoddy pacing and an ending that doesn't deliver the payoff needed to make it even worth a simple watch.

Perhaps the cardinal sin being done here is that Terminal tries too hard to be like Tarantino. The film doesn't do much to make itself stand out amongst its peers, almost like its only reason to exist is to demonstrate some out-of-left-field plot twists that turn the movie on its head. Simon Pegg and Dexter Fletcher are the only real standouts, with Margot Robbie and Mike Myers phoning in uninspired performances. The only thing the film has going for it is a unique lighting setup that looks outright gorgeous at times. The oranges, blues, reds, and greens do well to complement the film's noir look, but that's the best that can be said.

The film is ultimately lost in translation, between post-production interference and a complete reshuffle of its core universe. While it understands its heroes and wants to show them off, it just suffers under the weight of an egregiously short runtime that doesn't allow for any breathing room. Add on top of that the abysmal VFX, and a villain that wouldn't even qualify as Monster of the Week on X-Files, and you're left with a product that utilizes about a percentage of its assets and leaves the rest on the cutting room floor.