All articles tagged with #movie review
The Weight is a Depression-era adventure film directed by Padraic McKinley, starring Ethan Hawke as a prisoner tasked with smuggling gold across Oregon wilderness. Critics praise Hawke's gritty performance and the film's practical action sequences, though some note the script feels forced and supporting characters are underdeveloped.
The New York Post’s Johnny Oleksinski panned Jonathan Schey’s new film, 'Everybody Wants to F–k Me,' calling it a dull, overlong semi-thriller that relies on a single flawed premise. The 97-minute movie, which premiered at the Toronto International Film Festival, stars Taron Egerton as a London-based man who is suddenly pursued by aggressive women after a drugging incident. Oleksinski criticized the film for lacking coherence and relying on weak humor, noting that Egerton’s talent is wasted on a script that feels like a poor imitation of Edgar Wright’s work. The review highlighted the film’s disappointing ending, which involves insects, and concluded that the experience is best forgotten. While the film has not yet received a formal rating, the review suggests it is unlikely to gain significant traction. The piece also noted that the film is seeking U.S. distribution, but the negative reception may hinder its release.
The Verge’s TIFF 2026 review highlights Bassam Tariq and Mahershala Ali’s Your Mother Your Mother Your Mother as a standout hitman thriller that rethinks the Blade era by blending moral intrigue with restrained action, while previewing other day-3 TIFF titles like In Alaska, The Face of Horror, Babies, and Drifter.
A scathing review of Practical Magic 2, arguing that despite reuniting Nicole Kidman and Sandra Bullock, the sequel is bloated, lacks the original's charm, features weak writing and editing, cheap effects, and a convoluted plot about breaking a family curse that drags for over two hours.
A critics’ take is that Coyote vs. Acme wastes its premise by turning into a tepid courtroom drama, failing to effectively use its beloved cartoon icons and delivering uneven humor and a disjointed story rather than a fresh, cohesive film experience.
Tom’s Guide’s Rory Mellon calls Don’t Say Good Luck Netflix’s best recent movie, anchored by Sunny Sandler’s standout lead and Melanie Lynskey’s devastating supporting turn. The teen drama follows Sophie as she pursues a lead role while her mother battles cancer, mixing familiar coming‑of‑age and family illness themes with grace, humor, and genuine emotion to deliver a crowd‑pleasing Netflix original that stands out in a crowded field.
A witty, sharp live-action/animation take on Wile E. Coyote and the Road Runner, Coyote vs. Acme blends zany humor with strong voice acting and an unexpectedly emotional ending. The film was shelved by Warner Bros. Discovery amid corporate shakeups but was later released by Ketchup Entertainment, earning praise for preserving the IP’s soul and offering one of the era’s standout Looney Tunes experiences.
A critic reviews The X-Files: I Want To Believe – Vrach Frankenshteyn, the director’s cut of the 2008 sequel, and finds it adds nothing substantial: it’s ten minutes shorter, leaves the plot intact, trims a few scenes (including Mulder and Scully’s bed moment and a Bush portrait moment), and alters surgical footage without increasing fright. The piece declares the cut a useless revision that fails to redeem the film, and suggests future entries in the X-Files franchise may offer stronger iterations; Hulu release date is August 14.
The Verge’s Meredith Haggerty argues One Night Only treats its outrageous premise—single adults can only have sex on one annual night—as a rom-com playground, aided by subcutaneous chips that flip tattoos from red to green. The film delivers witty gags and strong chemistry between Monica Barbaro and Callum Turner, but raises big questions about enforcement and the political backstory that it largely sidesteps.
In a darker, more adult reboot, Spider-Man: Brand New Day resets Peter Parker’s story five years after No Way Home: the world has forgotten him, he operates in NYC with Detective DeWolff, faces a body-hopping villain, and even teams with the Punisher and Hulk (who don’t remember him). Tom Holland and Zendaya deliver standout chemistry as Parker reevaluates his power and responsibilities, with the film nodding to Tobey Maguire’s era while keeping the focus on character and hometown stakes; the 145-minute PG-13 movie hits theaters July 31.
Slate’s Dana Stevens praises Milly Alcock’s Kara but argues the Supergirl follow-up falls into familiar superhero traps: a dull villain, muddy CGI, and an underused Lobo, with a tonal mismatch that even a darker subplot about kidnapping young women for breeding can’t redeem. The piece suggests the DCU needs stronger direction from James Gunn to live up to the promise of Superman, leaving open the door for future installments.
The Death of Robin Hood is a bleak, violently reimagined tale that renders Robin Hood a cold-blooded killer; despite striking Northern Ireland scenery and strong performances by Hugh Jackman and Jodie Comer, the film remains a dour, narratively empty slog rather than a meaningful take on the legend.
Io9’s review hails Disclosure Day as Spielberg’s best film in over twenty years, a two-character sci-fi mystery anchored by Emily Blunt’s transformative performance and Josh O’Connor’s cybersecurity arc, weaving alien revelations with heartfelt wonder, strong set pieces, and a memorable John Williams score; despite a few CGI hiccups, the film delivers emotional heft and a hopeful blockbuster thrill.
A big-budget misfire: Masters of the Universe bungles its take on masculinity by layering a half-real-world Oklahoma detour into a patchy script, leaving the characters underdeveloped and the message muddled as IP-driven spectacle overruns any cohesive storytelling.
Deadline’s review hails Masters of the Universe (2026) as a playful, nostalgia‑soaked reboot led by Nicholas Galitzine’s charming Adam/He‑Man, with a witty script, strong supporting turns (Mendes, Elba, Leto) and glossy production from Travis Knight, making the Amazon MGM Studios release a fun, entertaining ride for fans and newcomers alike.