William Bibbiani

Sovereign is some of Offerman’s most complex and disturbing work. It’s a fine film, too.

You may want to leave the theater, go directly to a bookstore and buy the source material. That’s good! But you may want to leave before the movie’s over. That’s bad.

A fabulously smart and entertaining film whose flaws stem from trying too hard… which are the best flaws a film can have.

These above average, slightly forgettable movies may not live forever, but Theron’s badassery might.

Everything’s Going to Be Great understands the hopeless can-do spirit of not quite getting there but coming close enough that you’ll never, ever give up.

The filmmakers haven’t redefined the zombie genre, but they’ve refocused their own culturally significant riff into a lush, fascinating epic that has way more to say about being human than it does about (re-)killing the dead.

It’s all about radical acceptance but can only talk about the real-world application of its message in general metaphors, so people who don’t actually accept 'weird,' 'different' kids won’t have to think about how wrong they are.

Kosinski’s antiseptic visual style and Ehren Kruger’s limp screenplay (with a co-story credit by Kosinski himself) make 'F1 The Movie' an incredibly sterile film about virility. It’s so manly it can barely perform.

There’s an old expression that goes, 'If you can’t think of anything nice to say, don’t say anything at all.' I propose we update that a little. 'If you can’t think of anything nice to say, you’re probably talking about Bride Hard.

They’re all trying to make a meal out of starvation rations. The cast’s efforts aren’t in vain, and the film is better for having them, but a thing can get a whole lot of 'better' before it gets 'good.

Kudos to everyone here for doing their jobs, and for doing them reasonably well, but the end result of all the effort is a film which, when people talk about How to Train Your Dragon, will eventually be referred to as 'no, not that one.

I do heartily recommend you see Materialists, and that you see it for what it is, not what it kinda looks like from the outside, as pitched to you by the very sort of romance-commodification salespersons that Celine Song’s movie criticizes.

A potpourri of general genre genericness, never making enough noise to rattle, or even produce an echo.

A glorified pitch reel, submitting for our approval a few nifty movie ideas and wrapping it all up in a tidy bow. All action, no filler.

A cluttered mess with a boring storyline but the action is often amazing, and there’s a genuine sense of humor to all its weird duels to the death. That’s something that’s been absent from the self-serious John Wick movies for far too long — an acknowledgement of their own wackiness.

Fear Street: Prom Queen is not the best Fear Street movie. But to be fair, it’s probably the third best Prom Night.

I would seriously consider cutting off one of my own fingers if it meant I didn’t have to spend two hours alone in a room with John Krasinski’s protagonist from Guy Ritchie’s Fountain of Youth.

I guess when you take something that works and make it work slightly less, it still kinda works.

Del Toro hasn’t had a role this juicy in ages, and he’s captivating at all times.

We’re here for the kills and, again, every single kill in 'Final Destination Bloodlines' is a winner. Every time a head explodes, which is a lot, you’ll want to stand up and cheer.

Bring Her Back, like many great horror movies, hardly needs to dip into the supernatural to shred our nerve-endings.

If this is the end of the 'Mission: Impossible' movies, they ended on an adequate note.

Crackles with manic energy, fed at every turn by exhilarating fight choreography and a thoroughly game cast. Hartnett carries the whole silly, bone-crunching enterprise masterfully.

The only annoying thing about Summer of 69 is that this is the exact kind of laugh out loud, emotionally satisfying, share-it-with-a-friend comedy that would probably find a sizable audience in theaters — and instead it’s a Hulu exclusive.

It’s a film with potent ideas, inner conflict, historical imagination, dramatic challenge, queer power, human fragility, humor, sex, pathos. It’s hard to pin down exactly what makes it great, and that’s what makes it great. There’s so much to its muchness that the veneer can hardly contain it, not unlike Taffeta themself.

Never was a film I’m more likely to forget, than this of Romeo and his Juliet.

It’s that rare action movie that succeeds because it’s challenging and intriguing, which is a nice way of saying that maybe it could have kicked slightly more ass.

Minahan has made a film about embracing life when you’re not legally allowed to, and he refuses to make watching it a misery, no matter how rough it gets.