movie review - Page 5

Overall, though, if you take in the full scope of reactions, these are mixed reviews, not the 100 percent gushing Disney was aiming for.  

The problem is a heavy-handed and insanely predictable screenplay that lacks tension, intelligence, and nuance.

Unlike “42” and “Walk the Line” and “Tolkien,” biopics that all but erase the Christianity that in real life defined their primary subjects, that’s not the case here.

While Banks is blaming men for not showing up, her joyless movie could not even attract 15 percent of the single women in two of the most left-wing cities in America.  

Director James Mangold has delivered 152 minutes you never want to end.

Elizabeth Banks is basically remaking “Kingsman,” but a tedious, joyless, colorless, direct-to-video version of “Kingsman.”

If her story was fiction, no one would believe it. Harriet tells her story truthfully and tells it well. 

Sarah Connor no longer needs a man. Se’s killing Terminators all on her own by brandishing a gun and a vagina.

Double Tap bravely hands the movie over to Harrelson’s unapologetic redneck Tallahassee, and pits this wonderfully-realized character right up against a commune of woke hipsters.

“El Camino” picks up Jesse’s story from the iconic moment of his escape, and then spends the next 122 minutes removing all the fun that came with wondering what might have happened to him.

If you are determined to see a movie where a movie star fights himself, let me recommend 1991’s “Double Impact”; the tagline is “Double the Van Dammage!” and does not disappoint. Hey, it is what it aims to be, which cannot be said for “Gemini Man.”

Joker warns us of what happens when a society is stupid enough to allow the government to control health care, warns us that what the government giveth, the government can also taketh away.

Rotten Tomatoes and its cabal of left-wing critics are deliberately looking to deceive us and even tag us as racist for daring to enjoy a perfectly acceptable piece of entertainment.

Movies matter, and Rambo: Last Blood matters… Untold million will eventually see this, will see The Truth through the most powerful propaganda tool there is.

These fascist critics only want movies that hit their political sweet spots, which is pathetic enough, but they never state their case beyond name calling. Is “racist” all you got?

I’m here to tell you that Hustlers looks like something written and directed by someone named Male Chauvinist Pig.

There is a lot of Woke in Chapter 2. The story opens with a brutal gay-bashing scene that has nothing to do with anything. So we get a couple guy-on-guy kisses (the only time over the three hours where I covered my eyes).

The best news, though, is that Angel Has Fallen is a solid genre movie, a B-movie once again working its butt off to be an A-movie

There are a number of movies and documentaries to remind us, not only of a better Hollywood, but of that time 50 years ago when America was its most American.

The first half of Spider-Man: Far From Home is dreadful, like a spoof of the worst superhero movies ever, including those Marvel movies where cities are destroyed by CGI at the hands of stupid villain(s) — in this case, The Elementals — and we’re all supposed to believe this can happen because someone like Mysterio (Jake Gyllenhaal) explains it all from an officious Command Center.

My Thursday night show was packed with small kids who were hypnotized for the full 100 minutes, as was I.

This oppressive approach gives the movie a suffocating sense of puritan sterility where it could have really used a little Will Smith-swagger and a whole lot of cleavage.  

What do all these flops have in common? An insufferable air of self-importance, a suffocating sense of sanctimony and smug.

Chad Stahelski, Reeves’ stunt double in The Matrix, has directed all three chapters, knows exactly what his audience wants, and understands what made his star a star.

Endgame is a true epic, filled with spectacle and purpose. It has something good to say about the world, a real philosophy about the importance of humanity, family, and self-sacrifice.

Would I have enjoyed The Silence on the big screen? Possibly, but nowhere near as much because it feels like a TV movie, plays like a TV movie, and on TV it works like gangbusters.

I wasn’t a big fan of Split, but Glass is much worse, even with the presence of Willis and Jackson, both of whom are wasted in a way that should be a crime.

There’s fleeting suspense, bumps in the night. What’s missing, though, is any sense of an emotional undercurrent, the thing that gave the original a legitimate sense of dread and heartbreak.

Naturally there’s a Woke Moment. Shazam rushes to save a woman from a mugging but she’s already saved herself because she doesn’t need his toxic masculinity because women are mighty n’ stuff.

In its own way The Highwaymen is as iconoclastic as Bonnie and Clyde — it’s also kind of forgettable … and nowhere near as good.

S. Craig Zahler isn’t paving new ground here, he’s merely rewinding his art back to a freer time, to the wonderful era of 70’s filmmaking.

Brie Larson and Marvel are so afraid of the Woke Fascists, we’re forced to spend two hours with a lead protagonist without vulnerabilities, zero sex appeal, and no character arc.

Eventually, all of this moping becomes tedious, and it certainly doesn’t help that the movie as a whole adopts this tone, a tone of controlled restraint that turns oppressive.

Although writer/director Adam McKay has managed to keep the fires of his hatred for Dick Cheney stoked a full decade after the former vice president left office, rather than serving as a constructive muse, this hatred is so blinding, so smug, so superior, McKay ends up revealing more about a lot himself than his subject.

Eastwood’s performance in “The Mule” is a wonder, another lovely, endearing, peculiar tightrope walk in a compelling and very touching little movie.

At just 85 minutes, Mid90s was over way too soon. I wanted to hang out with these kids forever.