Venom: The Last Dance Is a Camp Buddy Comedy Disguised as a Comic Book Movie
The series ends with an oddly sweet romp about a mismatched couple on a zany road trip across the American West.
The series ends with an oddly sweet romp about a mismatched couple on a zany road trip across the American West.
The comic-book sequel is a dull, dismal, event-free recap of its predecessor.
A sad, shallow, and pandering movie that shows the MCU has no real stories left to tell.
Listless and incoherent, it's a sign of the genre's struggles.
In the second season of his eponymous Marvel series, Loki becomes both more human and more godlike.
In the director's own words, this is "a sequel to five different things."
A listless, cynical wrap-up to a decade of chaotic superhero storytelling.
The Little Mermaid was a dull exercise in box-checking. Spider-Verse uses its diverse cast as an opportunity for narrative delights.
In 2018, director James Gunn was fired from the film for gross tweets. But this comic book sequel shows the value of his gross-out sensibility.
There's real grief in this superhero sequel. But it falls prey to too many Marvel movie problems.
The new DC Comics-based film wants to critique the superhero status quo. Instead, it ends up supporting it.
Ten years after its release, the final film of Christopher Nolan's Batman trilogy is possibly even more relevant.
A Sam Raimi fun house burdened by the Marvel universe's not-so-glorious purpose
Jared Leto stars in a not-quite-Marvel film that inadvertently demonstrates the strengths of the MCU.
It's a Batman movie that seems distinctly uncomfortable with the idea of Batman.
Kenneth Branagh's murder mystery lacks glamour.
The film is suffused with the patronizing notion that good superheroes are benign despots who know what's best for the rest of us.
It's the two Spider-Mans meme in $200 million movie form.
Marvel's latest superhero epic is a boring movie about boring people.
It's a crude, ugly derivative of a crude, ugly film.
The most subversive thing about the movie is that the director was allowed to make it at all.
Is the biggest brand in movies better off on the small screen?
The show perfectly encapsulates the feelings of grief, confusion, and isolation born of the pandemic.
It’s a victory for fans made possible by the evolution of streaming technology.
WarnerMedia, the Ad Council, and the CDC are infantilizing us and insulting our intelligence.
The new HBO show explores how systems of authority fail those for whom they are ostensibly responsible.
Damon Lindelof’s remix of Alan Moore’s seminal graphic novel took on race, policing, and political power in an alternate-present America.
What if the superheroes everyone loved and looked up to were actually awful people?
The latest entry in the Marvel Cinematic Universe is fun, frivolous, and forgettable.
Director Neil Marshall's revival is a sad imitation of Guillermo del Toro's comic-book movie masterpiece.
A charming, lightweight superhero movie that works hard to please.
Marvel's first female-fronted superhero film is a woke superhero fantasy scared to take any risks.
A joyous, energetic Spider-Man remix shows what superhero movies can be.
Without him, Hollywood as we know it might not exist.
Less creator than editor, pathetic company man, purveyor of childish nonsense? No amount of next-level quasi-sophisticated Stan Lee critique can avoid the proper conclusion: He was the Man.
Marvel's former chief left behind a massive cultural legacy preaching tolerance and personal responsibility.
Not that. Anything but that.
The dull new movie makes for a marked contrast with the delightful new Spider-Man video game.
The stars have signed an open letter explaining why Gunn didn't deserve to lose his job.
The things that made DC Comics fans hate Snyder's vision of heroism might make him just right for Rand's Roark.
The supervillain's master plan echoes the fears of "Population Bomb" author Paul Ehrlich.
(You don't really have to shut up, but here's my money.)
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