Despite its Chinese setting and characters, the movie doesn’t feel appreciably different from so many other previous tales of lost young people who learn friendship through a pet or extra-terrestrial, and the story’s broad humour and pedestrian plotting don’t add much to this perfunctory fable.
Jojo Rabbit doesn’t lack for ambition or sincerity of purpose — which only makes it more disappointing that the film proves to be so meagre. ... Rather than being bracing or dangerous, this comedy ends up feeling a little too safe, a little too scattered, and a little too inconsequential.
Sometimes Shults’ reach exceeds his grasp, resulting in a self-conscious epic that wants to hammer home its characters’ emotional wreckage. Nevertheless, Waves is also powerfully immersive, investing so passionately in these individuals that it’s hard not to do the same.
This thriller can sometimes be too mechanical — a breezy exercise if not always an emotionally satisfying one — and yet the large cast’s willingness to get on Johnson’s brainy, sprightly wavelength makes this an enjoyable romp.
Spurlock again proves to be fascinated by the art of salesmanship, but too often Super Size Me 2 feels like its own hustle, peddling a slick, self-promotional investigation into a world that’s already fairly well covered.
After the sorry spectacle and blatant xenophobia of London Has Fallen, it’s almost a relief that Angel is merely a competent, second-rate action vehicle. This trilogy’s ambitions have never been particularly high, but at least this third chapter’s fleeting junk-food pleasures aren’t undermined by base pandering.
Although directors Matt Bettinelli-Olpin and Tyler Gillett do a good job executing tense suspense sequences, neither the satire nor the setup is particularly convincing. What we’re left with is some nifty cinematic gamesmanship which is not as politically astute as it thinks it is.
The Fast & Furious movies always possess a certain amount of eye-rolling histrionics, but Kirby finds just the right mix of sincerity and snark, understanding that these films are meant to be knowingly ridiculous.
Boasting a breezy spirit and Tom Holland’s likeable turn as the titular web-slinger, this new film is adequately rousing and jokey, but too often it has the feel of a transitional chapter which is meant to pivot away from Endgame to whatever producer Kevin Feige has next in store for these heroes.
Annabelle Comes Home has effective scare sequences, especially as the film ratchets up the tension in its final reels, but this sequel ultimately feels too mechanical, and too familiar, to unnerve as proficiently as previous entries.