The animation is also top-notch: Bo has a bunch of dazzling scenes as a porcelain warrior, and human characters look better than ever. With the emphasis on Woody’s tale, Buzz and the other returning toys spend much of the movie as side characters, but it turns into a true romp when everyone's plots coincide.
Unlike the corner of the entertainment industry it tackles, Mindy Kaling’s quick-witted screenplay for “Late Night” doesn’t go for cheap laughs, but instead wields incisive barbs to successfully make its point.
If this is indeed the end, Dark Phoenix finishes off the X-Men movie saga in frustratingly middling fashion, however fitting for a superhero franchise that only just a few times actually reached its cinematic potential.
The memorable songs return (with some new additions), the movie razzles and dazzles with huge dance sequences and impressive production design, but it’s definitely a more grown-up tale than the original 1992 animated classic.
Has ambition and style in spades – and thankfully, a plenty sassy Ryan Reynolds in the form of a little yellow rabbit-y dude – even if the quasi-noir private-eye tale is rather uninspired on the whole.
If the Marvel superhero movies on the whole are your favorite band’s individual albums, Avengers: Endgame is the triple-disc greatest-hits package with the really awesome cover and a slew of familiar, comforting gems inside.
It isn't good and it isn't bad – it is, to borrow a fitting adjective, "all right." But the film might as well be called “Matthew McConaughey: The Movie,” as it casts McConaughey in a role seemingly tailor-made for his famous style and yet, like the actor himself, also upends those same expectations.
While genre tropes are very much in play, there's a certain magic in this “Big”-meets-Superman affair where an ancient wizard transforms a troubled teenager into a buff, god-like guy with a light-up suit.
Julianne Moore shoots and scores – as well as laughs, cries, smokes, drinks, flies and sings – in the quirky Gloria Bell, which minds a fine line between in-depth character study and offbeat romantic comedy.
It took three “Thor” films for Chris Hemsworth’s thunder god to find his groove. Although Larson’s heroine is still a work in progress, Captain Marvel lays a solid foundation to follow her wherever she flies next.
The message here is everything might not be as awesome as it used to be, but that’s OK. It's a grounded, modern sentiment – and a self-reflective one – wrapped in a hyperactively bonkers, extremely enjoyable package.
Director Joe Cornish grounded the alien-invasion genre with clever plotting and entertaining English youngsters with 2011's “Attack the Block” and does the same with epic fantasy with this clever “Kid.”