Wright is working more or less within his element here  —  stylized violence surrounded by biting satire (a recurring bit featuring a reality series called“The Americanos”  —  a Kardashian stand-in family  —  is particularly ripe)  — and proves a good match for the material, even as King’s plot starts grinding its gears in the third act. 

Previous attempts to cinematically portray Marvel’s first family have fared, shall we say, poorly, from the Roger Corman-produced cheesefest back in 1994, to the reviled pair of early aughts flicks by Tim Story; to the even more despised misfire by Josh Trank, which led to many essays worth of angst about studio interference and the incredible pressure on young filmmakers to succeed at cost of their souls. 

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

The title refers to a singular fluid, but there are actually a great many other substances at play.

M3GAN escalates into sentient robot girl gone wild.

Jurassic World Dominion starts off at the pace of a lumbering Stegosaurus before finally picking up speed to Velociraptor levels later on.

An errant large asteroid wouldn’t be enough to wipe away this mess.

Crimes of the Future didn’t captivate me with its story despite the fascinating, gruesome effects and made me wish for a better experience in the present.

Men tries too hard to mix a message and symbolism with a creative concept and ends up neutering itself.

The style of Men is undeniable and will either immediately appeal to or put off its audience.

Firestarter feels modern and gritty in its approach and still provides the same thrills that you would expect from one of Stephen King’s creations.

Everything Everywhere All At Once is The Matrix for a new generation.