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For 2,130 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 One Battle After Another
Lowest review score: 0 15 Minutes
Score distribution:
  1. Positive: 1,157 out of 2130
  2. Mixed: 747 out of 2130
  3. Negative: 226 out of 2130
2130 movie reviews
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  1. Mother Mary
    The painfully literal ending struck me as a somewhat risible disappointment, and though I admired the movie’s imagination and ambition, I can’t say I ever entered wholeheartedly into its story.
  2. The Drama
    As for The Drama, it runs out of big ideas—and, seemingly, compassion for its characters—before the audience has had a chance to develop our own rooting interest in, well, the drama.
  3. Wuthering Heights
    For better or worse, it’s a Brontë adaptation for the era of Instagram and TikTok, second screens and viral memes.
  4. Hamnet
    A sensitive adaptation full of beautifully judged performances that nonetheless fails to maintain the essential appeal of its own source material: the quietly feminist retelling of one of the most retold lives in history from the perspective of a woman who was central to that life, while figuring almost nowhere in the record of it.
  5. Wicked: For Good
    The resolution of these characters’ arcs, and of For Good’s several other subplots, feels unsatisfying, rushed through and at the same time too fussed over. But any sense of disappointment that Wicked: For Good doesn’t quite live up to the first movie pops like a big pink bubble the moment Erivo and Grande unite one last time to sing the showstopping duet “For Good.”
  6. If I Had Legs I'd Kick You
    Bronstein expertly infuses the audience with Linda’s negative emotions, as if we were the ones hooked up to a feeding tube. But as I wrote just last week in a review of Benny Safdie’s first solo-directed feature The Smashing Machine, I’m not sure that simply being drawn into a troubled protagonist’s frenetic mental state constitutes the highest aim of cinema.
  7. The Smashing Machine
    Benny Safdie’s first solo film, to its credit, explores different psychological territory. Rather than entrapping us in Mark’s roiling brain, he seems to be purposely walling us off from both the character’s and the actor’s interiority.
  8. The Fantastic Four: First Steps
    Though The Fantastic Four: First Steps has all the elements in place to make it the keystone of a new Marvel era, the script (by Josh Friedman, Jeff Kaplan, Eric Pearson, and Ian Springer) never loses a vague, hand-waving quality that leaves its central characters as indistinctly drawn as the moral conflict they ultimately face.
  9. Jurassic World Rebirth
    Rebirth’s dinosaurs are everywhere, but the more you see, the less it means. They’re good for a scare now and then, but the sense of awe is long since gone.
  10. The Phoenician Scheme
    For all its exquisite boxes-within-boxes compositions and cleverly designed sets (the production design is by longtime collaborator Adam Stockhausen, who won an Oscar for his work on The Grand Budapest Hotel), this whole movie unfolded for me as if behind a thick pane of emotion-proof glass.
  11. Warfare
    I couldn’t tear my eyes away from the screen during Warfare, even if they were sometimes half-covered during those many cutaways to lacerated flesh. But leaving the movie, my main sensation was relief that that brutal viewing experience was over, rather than reflection on the meaning of the Iraq War, on the experience of war itself, or on the success or failure of this particular attempt to represent it.
  12. Paddington In Peru
    If the latest escapade is not quite as sparkling as its predecessors—in 2021, the second entry briefly surpassed Citizen Kane as one of the highest-rated movies on Rotten Tomatoes—it retains their warmhearted and cheekily funny spirit.
  13. You're Cordially Invited
    Sadly, You’re Cordially Invited eventually founders on the same rocky shores as many recent attempts to revive the rom-com.
  14. Mufasa: The Lion King
    Mufasa was almost inevitably destined to be Barry Jenkins’ worst movie, and it is. But it’s not a black mark on his record, just a blank space on the timeline.
  15. Moana 2
    Scene by scene, there’s nothing not to enjoy about this lushly animated ode to exploration, teamwork, and pluck, especially if you’re a parent of small kids on the hunt for a fun family outing. But for all its verve and polish, Moana 2 seems more like a consumer product, in some subtle but unmistakable way, than the first film did.
  16. Gladiator II
    Gladiator 2 (or as it’s spelled in the opening title, GladIIator) sadly comes off as less a reinvention of the original than a curiously literal retread of its plot beats, characters, and themes.
  17. Blitz
    McQueen clearly wants to broaden the archetype of stiff-upper-lip Englishness into something more inclusive. It’s a worthy message, but one that sometimes seems to take precedence over the characters and story rather than emerging organically from them.
  18. Fly Me to the Moon
    Fly Me to the Moon’s foundational silliness could have been compensated for, and maybe even turned into the premise for a lightweight but charming romance, if not for two things: the failure to grapple with the larger historical implications of the fake-moon-landing subplot, and the fatal miscasting of Johansson and Tatum as oil-and-water opposites.
  19. Kingdom of the Planet of the Apes
    Despite its impressive attention to craft—including exquisite motion-capture work by the groundbreaking digital-design studio WETA—Kingdom of the Planet of the Apes never fully establishes its reason for being.
  20. Napoleon
    As it is now, Napoleon plays more like a hastily compiled highlight reel of a life than the full-fledged historical epic its director seems to have intended.
  21. Asteroid City
    If Asteroid City had kept its focus more tightly on these two troubled families, it might have turned into the most emotionally truthful movie Anderson has yet made. Instead the story widens out to include a sprawling cast of less complex, if often amusing, secondary characters.
  22. Elemental
    The problem with Elemental is that it is, in every way, the epitome of a Pixar film, except that it isn’t any good.
  23. Paint
    To the film’s credit, nothing in Paint comes off as mean-spirited or patronizing, including the treatment of the town’s many less-than-sophisticated consumers of televised artmaking. But by the last half, the ambient niceness felt so pervasive and the film’s ultimate purpose so vague that, even when the performances and much of the dialogue remained sharp and funny, the movie around them seemed to dissolve into one of those happy little clouds.
  24. Emily
    Every era, accordingly, tends to create an Emily Brontë in its own image, and Frances O’Connor’s film Emily is a prime example of this: beautifully photographed, preoccupied with its heroine’s fragility, and deeply silly.
  25. Magic Mike's Last Dance
    To the disappointment of this once-enthusiastic ogler, Magic Mike’s Last Dance fails to capture the eponymous magic of the first two very different but both delightful movies.
  26. Babylon
    Babylon is a defecating elephant of a movie: gigantic, often repulsive, but hard to look away from.
  27. Avatar: The Way of Water
    His passion is infectious and his enthusiasm for environmental causes commendable, but the movie’s metaphysical and sociological aspirations sometimes come off as cringe-inducingly similar to those that might be expressed by a white lady running a healing-crystal shop in a seaside town.
  28. The Whale
    Fraser’s all-in commitment to playing Charlie—300-pound fatsuit and all—put me in mind of Joaquin Phoenix’s performance in Joker, an act of faith so complete it managed to be the only transcendent element of a thuddingly bad movie. But Fraser’s beautifully judged performance isn’t enough to save this abject wallow through a mire of maudlin clichés about trauma and redemption.
  29. Black Panther: Wakanda Forever
    While it’s frequently moving and occasionally thrilling, the gears sometimes grind audibly on the shift in between.
  30. Weird: The Al Yankovic Story
    Though it wears out its welcome in one dreary stretch midway through, Weird: The Al Yankovic Story (which premieres on the free, ad-supported streaming service the Roku Channel on Friday) is an appropriately goofy tribute to its subject and co-creator: a movie parody about the life of a parodist.
  31. Blonde
    Once again, in trying to find our way past the icon to the woman underneath, we have only pushed Norma Jeane further away.
  32. Three Thousand Years of Longing
    For the most part, Three Thousand Years of Longing reads not as an unintended allegory of contemporary race relations but as a thoughtful, melancholy, and sometimes mordantly funny celebration of the time-and-space-collapsing power of storytelling.
  33. Bullet Train
    It’s Pitt’s wry presence, and his playful relationship to his own movie-star persona, that provides a still center amidst the CGI-smeared chaos and keeps this train from (metaphorically at least) going off the rails.
  34. Sharp Stick
    Sharp Stick is less a movie than a symptom, a tangle of would-be feminist ideas that, let us hope, needed to be gotten out of its creator’s system so she could get back to making something good
  35. Thor: Love and Thunder
    If this particular franchise’s material feels at times a bit thin to be spun out even to two hours, it may be simply that three solo movies per Avenger is more than enough. But this weekend, if the lure of an air-conditioned summer blockbuster summons you like a sacred Asgardian hammer, you could do worse than this Easter egg–colored, classic rock–scored frolic.
  36. Lightyear
    There’s a rueful irony to the fact that it’s this supposedly human inspiration for the beloved toy who feels more like a plastic action figure.
    • 83 Metascore
    • 60 Critic Score
    RRR
    Obviously, one film cannot encompass everything, and as the filmmakers have themselves noted, RRR is sheer fantasy. I cannot fault viewers for enjoying RRR so much, whether they ironically lap up the superhuman stunts or get swept up in the thrilling anti-imperial action. I’m concerned more about the timing of it all, the global presence, the recipe for viral success that other filmmakers will be eyeing. It’s an ingenious form of soft-power propaganda, one that can be interpreted as positively asserting an otherwise-marginalized ideology.
  38. The Northman
    At 137 minutes, The Northman can feel ponderously crammed with both mystic visions (however hauntingly rendered) and Mel Gibson–grade sadistic gore. Somewhere around the two-hour point, the endless bone-crunching battle scenes—while impeccably choreographed and breathtakingly shot in fluid long takes—start to become existentially wearying and even morally suspect.
    • 53 Metascore
    • 50 Critic Score
    Aline
    It’s not that I wish Aline took more advantage of its fictional liberties to mock or undermine Céline Dion. I just wish it had much more to say about something—such as child stardom, what it’s like to move from working-class margins to opulence, or the simultaneously reverent and condescending relationship that pop culture had with Dion at her 1990s peak
  40. Marry Me
    The fact that Marry Me contains anything so formulaic as a third-act separation montage should spell out clearly what you’re getting in for.
  41. I Want You Back
    I Want You Back is a sometimes underwhelming vehicle for Day and Slate’s considerable comic talents, but it’s a pleasure to spend two hours in their company.
  42. House of Gucci
    In a late scene in House of Gucci, one character labels another “a triumph of mediocrity.” That paradox and others like it might be applied to the movie itself: It is a glamorous slog, a fabulous bore, a pointlessly bespoke bit of silliness.
  43. King Richard
    King Richard is a Will Smith vehicle, through and through.
  44. Eternals
    The film, scripted by Zhao, Patrick Burleigh, and Ryan and Kaz Firpo, weaves plenty of jokes in with long stretches of intergalactic hocus pocus and equally long action set pieces. But the parts only sporadically cohere into anything like a whole.
  45. Dune: Part One
    This film is a curiously paradoxical achievement: a visual and aural marvel that is also a crashing bore.
  46. The Last Duel
    If Affleck and Driver at times appear to be on loan from a different, dopier movie, possibly one involving Monty Python, they both have such a cape-swooshing, mustache-twirling good time that it’s hard to blame them for going all in on their characters’ villainy.
  47. No Time to Die
    The movie can’t compete with the Missions: Impossible and Fast and Furiouses for visual spectacle, so what it offers by way of compensatory heft is a tangled plot full of double-crosses and hidden identities, combined with a ponderous gait that suggests that more than the mere world is at stake.
  48. The Eyes of Tammy Faye
    The movie seems to love its main character without bothering to understand her.
  49. Kate
    Kate gestures at being different, something fresh and subversive, but at the end of the day, it’s just reheating old clichés.
  50. Candyman
    The first hour of Candyman does a bang-up job of mixing such audience-teasing popcorn thrills with trenchant, if sometimes too flatly stated, social critique. But by the last half-hour, there are so many themes, plotlines, and flashbacks in play that the movie’s message becomes muddled, and the forward momentum slows.
  51. Space Jam: A New Legacy
    A New Legacy is much slicker and more appealing than the original Space Jam, in no small part because James is approximately 50 times the actor Jordan is. But it’s also because corporations handing a bag of unrelated IP and ordering screenwriters to come up with a story around them is the template for most studio filmmaking now, if not all of contemporary existence.
  52. America: The Motion Picture
    The movie is at its best when it can revel in inventiveness, scrappiness, and camaraderie, and you feel the “We’re coming together! We’re beating the Big Bad!” vibes run through you.
  53. Luca
    Especially if you’re watching with children, you could spend a perfectly lovely afternoon diving into Luca’s refreshing blue-green waters. But unlike the two fish-kid buddies at the movie’s center, you may not emerge from the experience transformed.
  54. Cruella
    All in all, Cruella is much better than it needs to be, and is hampered primarily by the fact that it’s a Disney movie, both in the sense that it has to heel to its animated and live-action predecessors, and in that making its main character a genuine antihero isn’t an option.
  55. Biggie: I Got a Story to Tell
    If you’re a Biggie die-hard (I’m one), nothing in I Got a Story to Tell will trouble your conviction that everything you already thought you knew about Biggie Smalls is right. In other words, it’s fan service, a project that sees “what is this movie for” and “who is this movie for” as effectively the same question.
  56. To All the Boys: Always and Forever
    Always and Forever boasts all of the Instagram-filter-style color grading and absurdly beautiful sets that fans have come to expect, as well as a soundtrack of suitably romantic pop songs—but it’s the last bite of a meal you’re already full from. You’re used to the flavors, and there’s nothing in the dish that surprises you anymore. If comfort is your aim, look no further, but to keep any franchise or genre alive, sometimes you need some fresh ingredients.
  57. Earwig and the Witch
    Gorō is a talented director. The individual shots of Earwig are beautifully composed, the characters are delightful (the tiny demons who wait upon Mandrake seem destined to become merchandise hits), and the film’s flimsy plot isn’t necessarily a bad thing. But the visuals sink the entire enterprise.
  58. Locked Down
    Hathaway and Ejiofor seem excited to play edgier, less nice people than they often get the chance to, and the early scenes of them locking horns in their claustrophobic (if posh) flat generate enough energy to carry the movie almost all the way over the finish line.
  59. Rebecca
    Glossy, handsomely mounted, with ample footage of mist-swathed Cornish cliffs, this adaptation is all still waters and no depth.
  60. Irresistible
    Irresistible might be a movie for the moment before or the moment after, but it feels entirely out of step with the one it’s in.
  61. The King of Staten Island
    It has a loping, lowkey charm and doesn’t require too much of your attention, and the plot is predictable enough that you could miss substantial chunks of it and not lose your way. You’re in the passenger seat, and it’s a nice ride as long as you don’t care where you’re going.
  62. Trolls World Tour
    Trolls World Tour was made to play in theaters that can’t open, celebrating a kind of performance that’s on indefinite hold. All I could feel watching its climax was how much I miss that feeling of being together in the dark, and how long it’ll be before it feels safe to do it again.
  63. Wendy
    Wendy recognizably reflects Zeitlin’s vision; it’s less a follow-up to "Beasts" than a kind of echo of it. The mistakes the movie makes, and the ways it fails to fulfill its predecessor’s promise, make me want to say something critics rarely express: I wish that the studio had meddled a little bit more.
  64. Once Were Brothers: Robbie Robertson and The Band
    Once Were Brothers could have been a peacemaking gesture, a magnanimous work of reflection and tribute that would gather Robertson some belated goodwill, and the film’s first half makes some moves in that direction. But damned if that hatchet just won’t stay buried.
  65. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Birds of Prey often leaves you puttering around the edges, being grateful for its modest achievements: fight scenes that are, if not exciting, at least coherently staged, and Robbie’s comic timing, which is so often sharper than the lines she has to deliver.
  66. Miss Americana
    A documentary about one of the most mediated, image-conscious people on the planet sounds like an oxymoron, and though director Lana Wilson is no hagiographer, Miss Americana is hardly warts-and-all.
  67. Cats
    It’s 80-year-old Ian McKellen who can best answer that last question, having the most fun of anyone as Gus the Theater Cat, lapping out of saucers and rubbing up against corners like the true thespian he is. And really, for all its flaws, what more could you possibly ask for from Cats?
  68. Star Wars: Episode IX - The Rise of Skywalker
    It’s frenzied, briefly infuriating, and eventually, grudgingly, satisfying, but it’s like being force-fed fandom: Your belly is filled, but there’s no pleasure in the meal.
  69. Just Mercy
    The needless cruelty of the criminal justice system feels like a world begging for more sense-making, but Just Mercy only sees its characters as heroes, victims, or obstacles, not as rational beings who might have their own reasons to knowingly commit terrible acts. Cretton’s desire to focus tightly on McMillian’s case makes sense, but he accidentally makes the white malefactors in the town more fascinating for their villainy.
  70. Uncut Gems
    There’s something to admire in the pedal-to-the-metal commitment of their project, and certainly Uncut Gems is the product of an uncompromising vision. But I found the result to be claustrophobic and, finally, dull, with scene after scene that hammers home the same point we understood from the very beginning: that Howard is a lost soul, fated to run both his business and personal life into the ground.
  71. Bombshell
    Whatever beliefs they may hold about other people’s humanity, I’m glad these women finally received justice from the network that wronged them. I’m just not sure that translates into wanting to spend two hours in their company.
  72. Frozen II
    Frozen 2 doesn’t have its forebear’s ungainliness; in many ways, it’s more efficiently engineered. But it’s also far less surprising, even taking into account that a sequel’s first task is to give people what they expect.
  73. Charlie's Angels
    Where Charlie’s Angels really falters, though, is in the jokes, as Banks is the only actress on screen with any real comic chops. One can’t help wondering what might’ve been if she’d concerned herself more with being her weird self and less with trying to make every woman in the audience feel validated.
  74. Doctor Sleep
    Flanagan is more faithful to "The Shining" than he was to Shirley Jackson’s "Hill House," but he ends each with a twist that functions as a smug reproach.
  75. Terminator: Dark Fate
    Speaking for myself, I’m fine with the concept of terminating The Terminator — and there’s no need to blue-orb back any more augmented hitmen or - women to do it.
  76. Dolemite Is My Name
    Dolemite Is My Name delivers on titties, funnies, and kung fu, all mixed up in a syrupy nostalgia that makes the picture’s feel-good populism go down easy. It’s only when the credits roll that you might notice there was little there but froth.
  77. The King
    This Hal can only mumble resentfully in one language. It’s the language of “serious” male cinema in the year 2019, where seething resentment gives forth to bursts of violence. In deciding to speak this language instead of Shakespeare’s, Michôd has taken two of the Bard’s immortal geniuses, the drunkard Falstaff and his protégé, the Prince, and shrunk them down to the size of everyday people.
  78. The Goldfinch
    The movie, even at two-and-a-half hours long, can’t fit in as much as does the 800-page novel, forcing director John Crowley and screenwriter Peter Straughan to pare down a bit on details, characters, and plot.
    • 58 Metascore
    • 50 Critic Score
    It: Chapter Two
    What director Andy Muschietti and screenwriter Gary Dauberman do with this opening murder — not to mention a bizarre subplot that appears designed to counterweigh it — exploits a ghastly real-life killing for a cheap shock, delivered without context or any clear thematic underpinning. It’s obvious they failed to fully reckon with what they’ve put on the screen, and the results are grim.
    • 76 Metascore
    • 60 Critic Score
    Cold Case Hammarskjöld
    In another era, the film’s postmodern affectations might have been more entertaining, but in the current era, the enterprise feels a little more sinister.
  81. One Child Nation
    It’s not that One Child Nation needs to cater to both sides of the argument, but it would have helped contextualize how often the acts of violence the film chronicles actually happened.
  82. Fast & Furious Presents: Hobbs & Shaw
    Hobbs & Shaw is a ridiculous movie, and sometimes it’s in the best way. I laughed at the audacity of its stunts, while shaking my head a little bit at their silliness. But I also despaired a little bit when I checked the time at what felt like it might be the climax and discovered there was still an hour to go.
  83. Once Upon a Time ... in Hollywood
    It’s fine to walk out of this movie not quite sure what Tarantino was using his story’s proximity to this real-life tragedy to say; that’s part of the ambiguity inherent in making art. But it’s dispiriting to suspect that part of why he wanted to stage a Manson-adjacent story was because the accoutrements — the period cars and costumes and neon signs, the glowering barefoot hippie girls, the acid-laced cigarettes and glowing movie marquees — were just so cool.
  84. The Lion King
    Uncanny singing animals aside, a secondary effect of the film’s commitment to zoological verisimilitude is to place the voice actors in a relatively powerless position. It’s a strange choice to assemble an all-star cast from various walks of celebrity—actors, pop singers, rappers, comedians—and then make their only contribution a verbal one.
  85. Spider-Man: Far from Home
    Far From Home, which brings back Homecoming director Jon Watts and screenwriters Chris McKenna and Erik Sommers, sometimes strains to match the intensity of the all-out battles in its dialogue scenes, and there are too many exchanges where characters reel off a dozen overlapping half-jokes in the hopes that you’ll come away with the feeling something funny was said.
  86. Men in Black: International
    Overstuffed and far from spry.
    • 43 Metascore
    • 50 Critic Score
    Dark Phoenix
    It’s not a terrible place for the Fox X-Men series to end. But it doesn’t feel like the Dark Phoenix Saga. For that, we’ll always have comics.
  88. Late Night
    Late Night suggests that Kaling is as fascinated as ever not by the girl next door but by powerful, unruly women — and the unconventional love stories befitting their willful, idiosyncratic selves. But the film may be most notable for its summation of the thinking and rethinking that Kaling has done about her 15 years in Hollywood — and how to fight to change it.
    • 69 Metascore
    • 50 Critic Score
    Rocketman
    The movie, sorry to say, can’t quite keep up that swagger. Instead, Rocketman mostly proceeds with studious fidelity through the stations of the rocker biopic, with only a few formal tweaks to the formula.
  90. Always Be My Maybe
    The script relies too often on Sasha’s bestie or Marcus’ father pushing the destined couple toward each other, but its smaller moments of naturalistic riffing make up for the rigid plotting.
  91. Wine Country
    Maybe this dream team would be better showcased by a "Tea With the Dames" situation, in which they were allowed to toss out the script and booze it up as their own funny selves. Anyone else up for Chardonnay With the Comedians?
  92. Pokémon Detective Pikachu
    Despite its sizable budget, Detective Pikachu has a similarly run-down quality. What story there is barely makes sense, and it feels as if large chunks have been taken out at random. But in a world packed full of franchise-extending would-be blockbusters, there’s something strangely appealing about its patchiness.
  93. Dumbo
    The nudges and winks in Dumbo about Disney’s predatory practices are an invitation from filmmaker to audience to share a knowing chuckle over the essential soullessness of the entire enterprise.
  94. Captain Marvel
    Captain Marvel sometimes resembles the kind of low-budget sci-fi that might have played on kids’ TV on a Saturday afternoon in the era when this movie is set.
  95. Climax
    If you like postmodern gimmickry and modern dance, and are OK with sitting through nearly 10 minutes of staged talking-head interviews, glum stoner talk about abortion, nausea-inducing filmmaking, characters whose motivations don’t make sense, horror, exploitative child death, and a quasi-coercive lesbian make-out—but just don’t care to be reminded “Drugs! Are! Bad!”: Leave 89 minutes in. Or don’t come at all, because Climax really isn’t about anything more than that.
  96. The Wandering Earth
    Despite the production’s team of scientist consultants, the physics in The Wandering Earth is probably a lot of hooey. But the film’s world building, which takes up much of its first third, is undeniably novel and fascinating. Rarely does a film brag such a technocratic heart.
  97. Isn't It Romantic
    Natalie might protest the whitewashing of New York by rom-coms, but Isn’t It Romantic trots out multiple supporting characters of color whose sole roles are to make the white protagonist look good.
  98. The LEGO Movie 2: The Second Part
    Like last year’s "Ralph Breaks the Internet," the movie evolves into a parable about toxic masculinity and the danger of mistaking darkness for depth, but Lego Movie 2’s frequent flips to the real world subject its underlying text to a scrutiny it can’t bear, and take the fun out of reading between the lines. Lord and Miller have always known what they’re doing, but here it feels like they need you to know it, too.
  99. Velvet Buzzsaw
    The sum amounts to far less than its parts, but oh, what parts!
  100. Glass
    It’s also hard not to judge it against the movie it might have been. In 2000, Unbreakable felt like an anomaly, a superhero movie that steered clear of camp and dug into the genre’s bedrock. It could have been thrilling to extend that approach into 2019, where superheroes storm the multiplex on a monthly basis, and there’s no longer a need to laboriously explain the culture behind them. Unfortunately, it seems that laborious explanations are the part Shyamalan likes. He’s the evil mastermind detailing his plot for world domination, knowing that the villain’s monologue is a terrible cliché but unable to resist the urge.
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