Spider-Man: Homecoming is the latest standalone superhero film to tackle great power and great responsibility without actually having to mention those famous words. This is Marvel Studios and Sony’s first full-length collaboration on a superhero film, making Homecoming a risky experiment that was clearly worth taking.
Baby Driver is Edgar Wright’s latest love letter to the overused tropes of cinema. Now that he’s explored zombies, cop spoofs, and alien invasions, the British director and writer turns his masterful eye toward car chases, bank heists, and even musicals.
It took a while, but I’m finally ready to unveil my movie power rankings for 2017, which will be updated as I continue to watch more films throughout the year. With this list, you can briefly glimpse my favorite movies of any given year and how they compare.
Is Pixar’s Cars franchise worth another lap with Cars 3?
It Comes At Night is yet another horror film from A24 that promises to wrap viewers up in an atmospheric resurgence of creepy tales that rely less on jump scares and more on pure dread. Unfortunately, It Comes At Night falls slightly short of both.
Wonder Woman is the long-awaited blockbuster superhero flick featuring the world’s most famous superheroine. It’s also a much-needed palate-cleanser for the DC and Warner Bros’ shared universe movies. But in a lot of ways, Wonder Woman herself carries far more important burdens than the woes of a franchise.
Pirates of the Caribbean: Dead Men Tell No Tales is the fifth entry in Disney’s theme park attraction turned film franchise. Sadly, this new entry isn’t just missing Gore Verbinski’s keen direction that made the initial trilogy a smash hit. It’s also missing the basic elements of good storytelling.