“Korengal” shows, without ever explicitly saying it, that the big ideas behind war don’t matter much when someone is trying to kill you and your friends on a daily basis.
The world won’t end if you spend one afternoon in the dark; in fact, it might get a little bit better.
While most of the humor just illustrates the difference between Jenko and his less-fit partner Schmidt, what really shows off Tatum’s gift for slapstick are the smaller moments.
It’s easy to live in a world where the only version of cancer is Hollywood’s, where we wear ribbons and buy pink KitchenAid mixers to raise “awareness,” but that’s not cancer. That’s marketing.
While Jolie embraces the element of fairy-tale camp present in all classic Disney animated films, everyone else in “Maleficent” kind of has no idea what they’re doing or why they’re doing it.
It’s so easy to be cynical about superhero movies, because they can so easily go wrong in so many ways. “Days of Future Past” takes a big jump without a net. And, boy, does it fly.
The filmmakers couldn’t, for whatever reason, imagine a world where there are roles for women that extend beyond “assisting men” and “worrying about men.”
This is more than a film about why Americans are fat and unhealthy; it goes into that, but it also draws absolutely damning connections between the food lobby and the government. I’ve been buying into messages that have lied their way right onto my thighs.
Every bad guy needs a story, and Electro doesn’t get one worth telling. “Suddenly bonkers” is not a motivation; a villain with no motivation is so flat he’s not worth rooting against.
Lomax returns to confront and eventually forgive one of the men who tortured him while he was a prisoner of war. In doing so, the film implies, Lomax is healed and he is cured.