There is something triumphant about Reeves’ The Batman, and I do like where the film leaves the character before the screen fades to black. But so many aspects don’t come together, each refusing to resonate no matter how much I wished otherwise.
The King’s Man is an abhorrently unlikable misfire, and I truly hope I do not have to see its like again anytime soon.
The fun of Spider-Man: Far from Home is watching the younger members of its cast agreeably interact with one another, and if the actual heroic parts of the tale could have generated maybe a third of that same intoxicating ebullience maybe I’d have found this latest MCU effort to be a bit more memorable.
Matthew Vaughn’s Kingsman: The Golden Circle is a tone-deaf, oftentimes frustrating, frequently insulting and moderately offensive exercise in gruesome misogynistic excess that’s made almost as if to convince pubescent 13-year-old boys it’s perfectly okay to treat women as ditzy dolls and little else.
Spider-Man: Homecoming might just be the most adorable motion picture I see all summer.
For the most part Kingsman: The Secret Service is made with gleeful anarchic relish, and at no point during its 129-minute running time did I feel bored or offended. Featuring crackerjack action sequences, laugh-out-loud moments of humor and emotional beats that caught me off-guard, in a lot of ways Vaughn’s latest is right up there with his best work as a director, the end product showcasing a confident maturity that’s sometimes been absent from a few of his previous endeavors.
That’s what The Amazing Spider-Man 2 does best, waste inherent potential. It’s got a great actor as the main character; does almost nothing with him. Has a wonderful actress as the female lead; gives her embarrassingly little to do. Casts two great stars – one up and coming, the other a bona fide Oscar-winner – as the bad guys; gives them precious little of substance to do.
Dredd didn’t do much for me, and while my final judgment is hardly as negative as it could have been, that doesn’t mean my passing of sentence labeling the film as forgettable is an endorsement people should purchase a ticket to see it in a theatre.
The final hour of The Dark Knight Rises is a kinetic whirlwind of Shakespearian tragedy mixed with a Puccini opera.