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The movie offering the most insight into Paul Thomas Anderson’s whole career is also his first.
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Shawn Levy’s latest collaboration with Ryan Reynolds is not an irreverent mockery of Marvel, but a redressing of what to expect from multiverse gruel.
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Opposition to authority in Peter Weir’s coming-of-age dramedy consists of the kind of life advice that should remain on Hallmark cards.
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Sound and dimension are used to their fullest extent to disorient Monsieur Hulot, as well as the audience, in the intricate metropolis of this macroscopic comedy.
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The Academy Award-nominated Fortnite movie is our punishment for entrusting Taika Waititi and Ryan Reynolds with blank cheques to corporate franchise filmmaking.
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I venture to say that this profoundly corny action epic about “totalitarianism” wants to be more important than it actually is.
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I’m not so sure about how Anderson’s second feature handles its narcissistic protagonist.
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Isao Takahata’s magnum opus is a true masterwork to which no writing can ever do justice — at least not mine.
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Miyazaki’s first and last biopic is as epic as his fantasies, but held hostage by the political baggage of fascist history.
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Although the troupe’s headline movie found no critical or commercial success at the time, today it is a riot.