After The Big Short I expected more from the director. To say Vice didn’t deliver on those expectations would be to understate that sentiment considerably.
Aquaman is an unhinged undersea thrill ride I enjoyed immensely, and the next time this hero picks up his trident I’ll eagerly take that leap into the cinematic ocean in order to see just what injustice he intends to remedy wielding it.
I liked Ben is Back a lot, and if not for a lumpy third act it’s possible I’d have considered this to be one of 2018’s best motion pictures.
Bumblebeen is the kind of picture I would have been head over heels about as a wide-eyed youngster, and as a somewhat cynical adult this is just the type of movie that breaks through that pessimism and reminds me why I love what it is I do with such unadulterated dedication. There’s way more than meets the eye going on here, and I for one I’m blissfully happy about that.
Welcome to Marwen is a revolting calamity, and my hope is that audiences choose to avoid this film like the plague.
Mary Poppins Returns is supercalifragilisticexpialidocious, and that’s the biggest word I’ve ever heard that also precisely fits what I thought about this sequel. It’s practically perfect in every way.
While a second-tier effort from the Oscar-winning veteran that still makes The Mule better than a lot of other filmmakers’ first tier selections, and for fans of the director this could be a solid matinee option worth hitting the road in order to see.
While I have more than my fair share of reservations, on the basis of Ronan and Robbie alone I still think Rourke’s debut is worth a look, and even if Mary Queen of Scots isn’t quite the royal entertainment I was hoping for as matinee fodder is concerned interested viewers could certainly do a heck of a lot worse.
There’s so much to love, so much that held me spellbound, the fact I’m sitting here annoyed that Mortal Engines never works nearly as well as it by all accounts early on looks as if it is going to has me lingering in a state perilously close to anger.