One of Pixarโs best efforts, and still one of their most conceptually imaginative pictures to date.
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One of Pixarโs best efforts, and still one of their most conceptually imaginative pictures to date.
Despite Fincherโs highly-calibrated craft and an excellent performance by Gary Oldman, this is way too dense and dull an ode to Old Hollywood to even be considered remotely compelling.
Not as inspiring or thrilling as the first movie, this largely serviceable sequel has some interesting ideas that take too long to unpack and could benefit from a tighter edit.
The filmโs radical nature hides within its safe, formulaic underpinnings in what is DC’s finest superhero movie since Nolan’s โThe Dark Knight’ trilogy.
It may sometimes feel too didactic, but this documentary about the proliferation of prisons in the US as set in the context of racial inequality has its moments of shocking power.
A languidly-paced work that has a great concept exploring human connections across time, with some moments of sublime filmmaking, but Haynesโ overall grasp of tone and thematic intent is a letdown.
A triptych of stories of ordinary women in Montana, whose vulnerabilities and desires are given the quiet Kelly Reichardt touch in this slow and contemplative work.
Despite being the ‘weakest’ installment of Nolan’s ‘Batman’ trilogy, you won’t see a more epic and satisfying finale than this.
Still the most accomplished superhero movie of the 21st century – a thrilling, endlessly fascinating treatise on good versus evil, and everything in between.
Perhaps the deepest film, philosophically speaking, of the trilogy, as Nolan delivers a compelling entertainer that asks not who but what Batman is.