Ant-Man’s return is notable for the villain and not a lot more, meaning this sequel shrinks into the back of the memory rather quickly, disappearing into the multiversal content void almost as if it never existed in the first place.
Plane achieves liftoff, and for old-school action fanatics, even if it doesn’t stick the landing, watching it skid wildly off the runway into a ditch with such raucous aplomb is as ridiculous as it is wonderful.
The Old Way is a cold, uncompromising Western that tracks down suspense and tension by moseying down a conventional narrative trail.
Avatar: The Way of Water builds to a final hour of action and suspense that blew me through the theater’s back wall.
Christmas Bloody Christmas is a gruesome slice of holiday cruelty that knows exactly what it is and doesn’t try to be anything else, and that’s exactly as it should be.
Peking Express is a gorgeously shot oddity built on an unstable foundation.
Violent Night does exactly what it sets out to do, and does so with panache, frivolity, and style. It’s a blood-splattered act of resistance, and not since Billy Chapman went on his Silent Night, Deadly Night rampage has a Santa Claus crushed so many skulls as he removes names from his extensive “naughty” list.
Assassination is a fun Italian Cold War thriller that makes precious little sense and frequently feels as if it were edited in a blender and put together with haphazard indifference.
Coogler aims high with Black Panther: Wakanda Forever, and when the director hits his target, it’s right in the absolute center of the bull’s-eye. But the misses add up.