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Behind the camera and in front of it, Cage is a walking affirmation that Hollywood is the unhinged, glamorous jungle everyone suspects it to be.
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A contemporary take on Jane Austen’s classic “Pride and Prejudice,” the film maintains the levity and comedy that ground the source material while also updating the story with a contemporary, resonant context.
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“Heartstopper” is the epitome of a young queer love story that is incredibly entrancing, joyfully pure and a magical portrayal of one’s first relationship.
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Throughout its run, “Top Gun: Maverick” demonstrates no interest in understanding any of the world beyond Maverick (and Cruise) at all.
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While Marvel cinema typically centers on an external conflict between hero and villain, “Moon Knight” focuses on a mental battle of self-love and worth.
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“Doctor Strange in the Multiverse of Madness” restricts its scope, dismaying as one of Marvel’s most disenchanting projects.
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Where “Dog Day Afternoon” garners sympathy for its characters organically and in postscript, “892” endeavors to emotionally control viewers from start to finish.
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Tethered to conspicuously directional source material, the film’s pushback against the defense system and its media corollaries is hermetic and anticipatory of recent events.
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The film positions its only point of intrigue as its lesbian romance, an insufficient measure given its lack of depth and inchoate narratives.
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There is no dearth of ambition in Robert Eggers’ third feature, which forsakes arid Viking drudgery — the kind mired in the myriad folktales “The Northman” sources from — for orgiastic, chainmail-clad antics.
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