For the incredible strength of character on display here, it is ultimately sad that [Wonder Woman] is so lacking in almost every other department.
Baywatch works far better as a parody of itself and when it shows that it understands exactly what kind of show/movie it was/is. In these respects, [it] is a smashing success and a colossal failure at the same time.
[Alien: Covenant] feels as if Ridley Scott did not learn the lessons of Prometheus, doubling down on the advancement of the plot purely out of character stupidity and once again serving up a muddled mish-mash of heavy-handed philosophizing with a liberal sprinkling of Alien lore.
[Mad Max: Fury Road] isn’t so much a film as it is a shotgun blast of incredible tension that keeps firing from the first fade in ’till the last fade out.
[Guardians of the Galaxy Vol. 2] sacrifices credible character development for meaningless sequence after meaningless sequence of what can only be described as feature-length toy commercials.
While definitely set within the same universe,
viewers should not go into Kong expecting the same kind of experience Edwards delivered in 2014; this film is
drastically, dramatically different, and in some ways it is definitely not for the better.
August Wilson’s Fences has landed a whole heap of awards on Broadway; James Earl Jones and Mary Alice won best actor and actress trophies in its original run, and Denzel Washington and Viola Davis won the same trophies again during its revival. It is a thorough and at times all-too-real exploration of the complexities of […]