MaXXXine
Maxine—previously established as a self-possessed go-getter—becomes reactive, a passenger along for the ride, which suits neither her character nor Goth’s talents for extreme characterizations.
Thriller
One Battle After Another
With One Battle After Another, Paul Thomas Anderson masterfully threads the needle on a hyper-political film in this highly contentious era of American politics that manages to furiously punch in all directions, refrain from devolving into soapboxing, and above all, remain eminently entertaining.
The Phoenician Scheme
The Phoenician Scheme belongs to that crop of Anderson films in which the filmmaker’s own cleverness overwhelms any skerrick of humanity that might have ended up on the screen.
Americana
Tost strives to reach beyond the basic parameters of his story, not only to lasso some large and uncomfortable themes but to craft a borderline absurdist black comedy around his bleak narrative.
Empire of the Sun
Spielberg finds a nice middle ground between the spectacle, sentiment, and solemnity that tend to fall out of balance in the director’s “grown-up” efforts.
The Vanishing
It forces the audience to assume the roles of both victim and perpetrator, and its sustained horror remains firmly lodged in the mind long after the jump scares and gore of a regular horror film would have faded from memory.
The Grey
The Grey finds itself in unique territory—it’s a film that is simultaneously heinously gory and also truly thought-provoking.
Goldfinger
These books are rarely worth taking seriously. They’re pulpy and entertaining and that’s what makes them fun. But Goldfinger fumbles too often to even meet that standard.
Dr. No
Fleming really has his pacing and plotting down pat, and his writing has transitioned to a more colorful and interesting style.
From Russia With Love
The bold narrative choices and the sacrifice of some James Bond action heroics are worth it, leaving us with the strongest James Bond outing yet, and serving as the source material for one of the best Bond films.