Mike Ryan

The tone of this movie is weird, but I kind of get what it’s going for. It basically feels like a cartoon, then all of a sudden a character will get stabbed in the head, or sawed in half, in the most gory way possible.

It’s hard to tell what this movie is trying to be, and end the end just kind of becomes just another superhero movie, despite Jason Bateman’s best attempts at preventing that. I swear, someday, someone will nail one of these premises.

It’s just a really long, more coherent version of that story. I certainly didn’t hate it like I hate the prior version – and, admittedly, I do like it more than Batman v Superman – but all the character motivation in the world still doesn’t help the foundation the whole thing is built on.

Wonder Woman 1984 is pure sugar. There’s little nutritional value. But we all deserve dessert right now.

Clooney wants to direct actors who aren’t himself, which I’m sure is why we spend so much time with the crew of the spaceship. But if Clooney weren’t directing, that director would have probably realized that the story thrives in those small moments with Clooney. It’s almost like the director George Clooney is the actor George Clooney’s worst enemy.

If you have kids, they will probably love this because it’s very colorful … and even I found myself mesmerized by how colorful it is. A cornucopia of colors! (I guess that’s my pull quote.)

Boseman is just so alive in this movie. This is not an “understated” performance. It’s like watching an athlete give it all on the field and we are left there wondering how this man isn’t just completely exhausted. Yeah, turns out Boseman did have one last gift for us. And, my gosh, he didn’t disappoint. He’s pure dynamite. It’s devastating.

If this movie was going to hit with people, I think I would be one of them. I know the people in this movie. Many of the people remind me of people in my own family. But it didn’t hit. Again, I don’t know who Hillbilly Elegy is for. Well, except maybe J.D. Vance.

It’s an admirable effort. It’s just a beautiful thing to look at. And the whole endeavor is such a touching tribute from Fincher to his father. But, in the end, I found myself more interested in the behind the scenes shenanigans that led to the creation of, perhaps, the greatest movie of all time, as opposed to Mank the human being. And Mank focuses much more on the latter.

That’s the thing about Borat 2, it’s not shocking anymore. Because it certainly should be. There’s certainly a lot of hilarious things that happen . . . . But over the last 14 years, things have drastically changed enough where “shocking” is no longer a relevant emotion to these movies.

Here are the last eight months all laid out for us, and it’s infuriating.

On the Rocks is light on plot, but makes up for it with just the sheer joy of Murray and Jones out on the town. The actual plot is only there as an excuse to get the ball rolling for those two.

Since theaters basically ceased to exist, there’s been a few movies I’ve watched screeners at home and have really, really enjoyed. But this is the first that made me feel like I was back in a theater. This felt like a real event. That I got those chills down the back as I watched something I’m just loving for the first time of what will be many times.

What’s remarkable about Good Joe Bell is Wahlberg plays the role in such a nuanced way, by the end of the movie you want that rousing speech. But it never comes.

It’s literally a party. It’s an all-encompassing experience that McQueen directs with the same urgency of his other, more inherently intense films – the urgency that has made him one of the best directors today (and one of my own personal favorites, if not just plain “favorite”).

Concrete Cowboy is a nice movie about fathers and sons and humanity and the legacy of why there are people riding horses in places you wouldn’t expect to see any horses.

Nomadland will almost physically take you places. It’s a beautiful, absolutely gorgeous motion picture.

What a debut film it is. She gets just the right amount of tension and angst out of these four actors in a way that still makes it believable they might all still be friends or want to hang out together in the first place. It’s a movie about agendas.

There’s something whimsical and magical about the whole thing. It is designed to make the viewer feel good.

For me (no, I didn’t have to pay for it, so keep that in mind), it felt legitimately fun to watch. It wasn’t quite the feeling you get in a theater, but it just felt good to watch a new huge would-have-been-a-blockbuster movie, even at home.

Like in the other two movies, Bill and Ted are both just so nice that it’s impossible not to start rooting for them.

An American Pickle is more interesting than laugh-out-loud hilarious. It’s introspective, without at all seeming that way.

The best thing about this documentary is that every singe member of The Go-Go’s is in “no fucks” mode. They are all at an age where they are going to be open and honest about what happened and not sugarcoat the details.

Irresistible could have been something that was just a pleasant enough, throwaway comedy – and it feels like that for most of its running time. If only Stewart read his own word, “resist,” and resisted that ending – that urge to try to turn this movie into something it just isn’t.

This is a movie that doesn’t care at all about character development. There’s no emotional investment whatsoever.

The big standout here is Bill Burr.

Scoob! is basically a really fun Scooby-Doo episode.