Wonder Woman 1984 is worthwhile mainly because its sense of hopeful uplift is genuine.
Their face-off is a violently over-the-top slug-fest that lands the majority of its punches, and the ultimate victors are audiences who purchased a ring-side ticket to see these two warriors slug it out in the pursuit of apex predator supremacy.
Gareth Edwards’ Godzilla hasn’t looked this incredible since it played in theaters.
It’s hard to imagine a more forgettable piece of sci-fi hooey than Chaos Walking.
Spectacularly animated and building to a heartfelt conclusion rooted in community and togetherness, Disney’s Raya and the Last Dragon is a stupendously entertaining adventure.
If The Midnight Sky doesn’t shine as bright as maybe it could have, there was just enough sparkle to put a happy twinkle in my eye, and even with a noted absence of fuel Clooney’s latest still achieves emotionally cathartic liftoff.
Monster Hunter is exactly what you think it is going to be, nothing more, and certainly nothing less, and I’m okay with that.
Soul ends on the perfect note, its last moments overflowing in voluminous human insights so melodious I could happily hum its climactic tune for a lifetime and likely never grow tired of hearing it.
Wonder Woman 1984 is an ambitious adventure, one that exuberantly galivants between Themyscira, Washington, DC, the Middle East and an isolated top-secret military satellite station with breakneck enthusiasm.