Playful in the same manner as Iron Man 3, the globe-trotting Spider-Man: Far From Home is possibly the best choreographed Spider-Man movie ever but that’s possibly its best suit.
With formulaic double-agent trope, Besson delivers another femme fatale flick; sadly, given his recent reputation, it’s uncomfortable to observe the inherent male gaze.
With moderate yet goofy presentation, MIB: International is surprisingly a warm welcome back for old fans and a fair introduction to new generation of fans.
Dark Phoenix is not the trainwreck people keep bragging about. It’s just a purpose-less, risk-less, incoherent comic book movie without big spectacles.
Hit & Run is a tonal mess—partly embracing the heyday of Hong Kong cop movies, partly grasping post-Raid actioners and mostly channeling its oddball tendency.
While rigged with clichés and comical elements, Miss & Mrs. Cops still delivers a fun female buddy-cop action movie with relevant message to current issue in South Korea.
Only the colossal amount of Kaiju Soshingeki visual spectacles and iconic one-perfect-shot moments that could somehow save Godzilla: King of the Monsters from its failing narrative.
The line between good and evil is deliberately blurred in this hardcore B-movie that goes too serious that Sylvester Stallone is keen to remake it.
Relentlessly leaping from various orgasmic, nerve-racking action set pieces to ever-expanding world building that probes for self-deducing, Parabellum is a wickedly lethal chapter.
While overstaying the welcome a bit too long, Brightburn still delivers its visionary premise of a superhero origin story turning into a visceral horror.