Spurned inventors and a chilling villain make for one of the most coherent, moving episodes of Whittaker’s tenure.
Sam Mendes’ WWI epic is an astounding technical achievement, but loses its soul on the way to razzle-dazzle.
The long-running BBC series returns for a rushed, flashy season premiere with an audacious twist that might just turn the show around.
While Skyfall was a rousing success, Mendes’ return to the Bond franchise, bogs itself down in tiresome lore and continuity.
The closing chapter of the Star Wars sequel trilogy maintains a steady second-weekend box office haul.
From the first time we meet Baby Yoda to the final trek of the Razor Crest, we look back at the highs and lows of The Mandalorian’s first season.
Star Wars: The Rise of Skywalker rises to a forceful $175.5 million opening weekend at the box office, but it falters compared to previous episodes.
The director of Wild Rose and The Aeronauts sits down to talk about his high-flying historical adventure, now available on Amazon Prime Video.
We revisit the underappreciated humanism of James Cameron’s effects-driven blockbuster a decade after its release.
J.J. Abrams closes out the Star Wars saga by walking back its more interesting middle chapter and drowning itself in fanservice.
Jake Kasdan’s followup to the surprisingly fun 2017 sequel loses some of the original’s luster.
Tom Harper’s ascent to the stratosphere has moments of tension, but they’re undercut by a choppy narrative and a shallow approach to its true story.
This sequel to the 2013 animated hit delivers on the songs and some lovely messaging, but essentially delivers more of the same.
Nickelodeon’s teenage live-action reboot of the beloved children’s show brings a strong central performance and oodles of adventure.
The Wachowskis’ last theatrical film to date — a space opera with Channing Tatum as a roller-skating wolf man — is one of their most ambitiously corny efforts yet.
It doesn’t reach the swinging heights of Homecoming, but Jon Watts’ follow-up gets Marvel’s Phase Four off to a charming enough start.
The Matrix Revolutions, the Wachowskis’ final film in the trilogy, is just as flawed as Reloaded, but carries heaps of visual and thematic weight.
Michael Dougherty’s entry in the Americanized kaiju franchise is frightfully brain-dead, even for a summer blockbuster.