Dwayne Johnson’s DCEU superhero film is a pale imitation of a Zack Snyder film, and proof of why the DCEU is being rebooted.
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Sean Anders’ musical riff on A Christmas Carol starring Will Ferrell and Ryan Reynolds is a hyperactive, amiable, and incoherent bit of Christmas content.
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Romain Gavras’ Athena is an impressive formal achievement, although it never manages to resolve the tensions between its operatic storytelling and its slightly-artificial visual approach.
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David Bruckner’s Hellraiser reboot is a flattened riff on the tale for a flattened cinematic culture.
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Morbius is a real superhero movie in the way that airplane food is real food.
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Last Night in Soho has an incredible premise and many excellent features, which makes it especially disappointing when the film goes off the rails.
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Using animation to recreate the subjects’ memories, Eternal Spring considers the hijacking in 2002 of broadcast TV by a group of Falun Gong practitioners in northeastern China.
Joe and Anthony Russo’s Netflix action blockbuster is modestly diverting content, but ultimately pulls it punches.
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Joel Coen’s The Tragedy of Macbeth is marked by a strong performance by Denzel Washington as well as a preoccupation with its own artifice.
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As far as streaming content goes, Spiderhead isn’t bad, but it asks questions it has no real interest in answering.
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Hustle is a movie about an NBA lifer made for lifelong fans of the game.
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This naked attempt at content (re)generation is packaged alongside some arch yet soft satire and meta-commentary.
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Windfall is a minimalist thriller whose modest dramatic tension is thrown off balance by its miscasting.
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Netflix’s stop-motion anthology film is often chilling, occasionally amusing, and visually intricate.
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Richard Linklater’s Apollo 10 ½: A Space Age Childhood offers a warm hug of 1960s space age nostalgia.
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The new Texas Chainsaw Massacre requel is stylish and short, but it has a dearth of compelling characters and story at its centre.
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Steven Soderbergh’s new techno-thriller set during the pandemic is timely and stylish, but narratively predictable.
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Anders Thomas Jensen’s action dramedy starring Mads Mikkelsen handles character drama and emotional growth in surprising and moving ways.
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The problem with Adam McKay’s political satire isn’t that it’s not satire, but that it’s toothless satire.
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Home Sweet Home Alone is bad in ways that are revealing of the differences between 1990s family entertainment and that of the 2020s.
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