I think there’s ample room for Jerry’s brand of hyperbolic amplitude as an antidote to the usual mindless summer tentpole regurgitations and superhero frolics of the modern era. It’s time to take it back a notch or two, with some added vroom vroom thrown into the mix.

With few exceptions, the previous M:I films, all of which arguably compromise the best and most consistent full-throttle action series in Hollywood history, were such a joy, in part, because of the way they nimbly set up their massive heist set-pieces, upping the stakes with each turn. There are few things more deeply satisfying to watch than a tight, well-executed plan bucking against insurmountable odds, especially when the plan, even if far-fetched, feels reasonably logical. 

The film has more coherence and gravity than the recent offerings the MCU has been able to muster over the last few years.

The ride is as shaky as the dwarfs’ rickety mine cars.

Bong Joon Ho is like an avant garde chef who’s opened a pop up kitchen in some strange part of the city you don’t know very well. You don’t know what to expect, but when you try the food, it’s a brilliant combination of disparate ingredients you never would have thought to put together

Twisters is a bigger mess than the towns it depicts after a direct hit.

Dune: Part Two seems intent on convincing us that explosions are the same thing as plot.

Barbie is akin to Joe Camel espousing the virtues of a healthy lifestyle.

This installment delivers more chuckles than all six past films combined.

Serves as a raucously rousing send-off for both its iconic character and main star.

The Little Mermaid is a surprising, heartfelt father-daughter tearjerker.

Vol. 3 is overly dark, overly busy and often overly dull.