Chris Klimek
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The "genial flexfest" of a spinoff is the "most agreeable" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films.
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Call it peak Tarantino: The writer/director's ninth film — about a Manson-family-adjacent actor and his stuntman — is an ode to the grimy, neon-lit place and time that shaped him.
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The latest summer action-comedy to attempt to satirize summer action-comedies by upping the violence, Stuberwastes its two charismatic leads in an unfunny riff on 2004's Collateral.
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A charming cast, some fun twists, and the usual third-act bloat; Avengersmay be over, but this "bright and buoyant" spider-sequel doesn't give you a chance to forget the Marvel formula.
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The sequel to the sequel to the classic 1971 blaxploitation film is fueled by gay-panic jokes and poorly staged, violence-is-the-answer set pieces.
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The sequel to the 2014 Godzillafinds two scientists and a bunch of monsters stranded in an undercooked story about an underdeveloped monster.
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The third installment of the Keanu-as-super-assassin series triples down on the gorgeously staged violence, but little things like his character's motivation get hopelessly muddled.
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Critic Chris Klimek crunches the numbers to examine how and why blockbuster films like Avengers: Endgame grew to such great, bladder-busting lengths.
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Comics creator Mike Mignola's gruff demon-hero gets a hard-R reboot that swaps out the charm of director Guillermo del Toro's previous iterations and replaces it with "chaotic, repetitive" gore.
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Tim Burton's take on the classic Disney animated feature does what it sets out to do in a kid-friendly, safe and unsurprising way devoid of the director's onetime idiosyncratic flair.