No doubt ahead of its predecessor both visually and technically, with compelling stretches of action and world immersion, but its storytelling depth and character development are unexpectedly shallow.
It does make some attempt in drawing out a poignant story about grief and loss, with Letitia Wright particularly impressive, but this sequel doesn’t quite scale the heights of the first movie’s creative spirit, or share its tautness.
It goes through its storytelling beats without fuss but also without invention, though all that becomes insignificant when you are in the cockpit of a fighter jet in what could be the most immersive blockbuster to be shot aerially since Dunkirk.
The movie that launched the popular action franchise is rather uninspired despite having De Palma at the helm—action is few and far between and the conversational scenes feel lacklustre.
One of Marvel’s most visually fascinating movies to date, but certainly not one (or two) of their finest hours.
At times packing visual panache yet also feeling run-of-the-mill in terms of plotting, Sam Raimi’s return to the superhero genre is welcoming but non-essential.
Solid and immensely well-crafted if a little too plotty, this Batman channels the dark energy of serial killer, vengeance and torture porn films while, for better or worse, keeping a lid on its bold and perverse aspirations.
Two decades on, this Oscar-winning, Cannes Palme d’Or-nominated (!) animated delight remains as energetic, refreshing and meaningful as ever.
This is the worst ‘Matrix’ by miles—a tediously talky, muddled mess of meta-recursive ideas that dilutes the mythology that made the trilogy, flawed as it may be, such a blast.
The tick-the-checkbox fan servicing approach is a mixed bag—the nostalgising can be oddly satisfying but the storytelling ironically feels regressive in the very construct designed to entertain a range of creative possibilities.
Eternality Tan 