It remains to be seen if Marvel’s latest TV spinoff can capture audiences’ attention as well as its predecessor.
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Disney’s high-fantasy adventure is spirited and dynamic, even as it flattens a host of Southeast Asian cultural signifiers into a homogenous whole.
Niki Caro’s remake of the animated classic slots nicely into the Chinese war epic formula, but a bit of Disney magic gets lost in the mix.
The adaptation of the first in Eoin Colfer’s series is alarmingly messy for a project that’s been in the works for almost two decades.
The latest Marvel film to date is more than a mid-sized follow up to Avengers: Endgame — it establishes Peter Parker as the beating heart of the new MCU.
Taika Waititi’s irreverent revamp of the Thor series, Thor: Ragnarok, manages to weave some much-needed criticism of imperialism among the gags.
Ryan Coogler’s superhero film not only salvages the colonialist origins of the comic’s imagery, it reclaims them for a Black audience.
It’s not perfect, but the Russo brothers’ conspiracy-thriller take on the MCU turned its eye inward to the more explicitly political.
Thor’s second standalone adventure buckles under the weight of too many characters and a confused directorial hand.
An unlikely team of heroes could have been a cliché, but Joss Whedon’s first foray into the MCU worked because it toyed with its moving parts.
Chris Evans’ first go-round with the stars and stripes remains one of Marvel Phase One’s most enduring outings.
Kenneth Branagh’s Shakespearean tale of a godlike alien shows the cracks in Marvel’s firmament amid its immature protagonist.
Jon Favreau’s 2010 followup to the first film in the Marvel Cinematic Universe also shows the weaknesses of worldbuilding over structure.
Jon Favreau’s acerbic superhero adventure set the template for the Marvel Cinematic Universe — and rehabilitated Robert Downey Jr. into a movie star once again.
One year after Avengers: Endgame, we look back at the blockbuster franchise that changed superhero cinema — and the moviegoing landscape — forever.
The temporary shutdown of public life that’s happening amid global coronavirus conditions has led to a standstill at the box office.
Disney+’s adaptation of the Jerry Spinelli novel is tooth-achingly twee.
Brian De Palma’s bizarro, big-budget blastoff is rocky, but it remains an effectively fun entry in the director’s filmography.