Finding Emily
Finding Emily is a charming, female-forward rom-com revival undone by a third-act conflict too heavy for the genre to reconcile.
Finding Emily is a charming, female-forward rom-com revival undone by a third-act conflict too heavy for the genre to reconcile.
Coyote vs. Acme was shelved as a tax write-off and finally rescued. It's a sharp anti-corporate comedy held back by one weak human story.
Spider-Man: Brand New Day is the most confident the MCU has felt in years.
Obsession is a sharp horror film with a breakout performance from Inde Navarrette, undone by a final act that breaks its own rules.
Nolan follows Oppenheimer by deconstructing Homer into the best film of the year. The Odyssey is a staggering, IMAX-shot masterpiece.
A decade on, Homecoming is a charming origin with a superb Michael Keaton, and a hero who never escapes Tony Stark's shadow.
Before the revisionist history starts, the 1984 Supergirl starring Helen Slater isn't a misunderstood gem; it's a hollow film with no urgency and a lead with no agency.
Milly Alcock is extraordinary as a jaded Kara, but a grungy monotonous universe and a too-thin villain keep Supergirl from greatness.
Toy Story 5 has a real idea about tech and childhood, and keeps flinching from it. Jessie's arc saves a film that won't commit.
Spielberg returns to first contact with a colder eye, and Emily Blunt anchors his best original sci-fi in years. A loose third act barely dents it.
A decade on, Age of Ultron is the Marvel movie that mistook setup for substance, and the first dry run for the homework problem that broke the Multiverse Saga.
Toy Story 4 is a pleasant, faintly unnecessary sequel, the moment Pixar learned it could mandate these and have them work. Tony Hale shines.