The Verge

Tomatometer-approved publication
Rating Title/Year Author
Shazam! (2019) Keith Phipps It's almost as if superhero stories were at heart about wish fulfillment. It's almost as if they're allowed to be fun. EDIT
Posted Mar 23, 2019
() Adi Robertson This film could have been smarter or more distinctive, but it remains a generally good-natured comedy about the trials of being a teenager - albeit one with a lot of severed limbs. EDIT
Posted Mar 15, 2019
() Tasha Robinson For people who specifically prize meticulous story-craft and the ability to dodge broad genre clichés, I See You is a rare gift. EDIT
Posted Mar 14, 2019
Us (2019) Tasha Robinson Peele directs Us with a masterful collection of horror-movie tricks - jump scares that actually pay off, a cat-and-mouse game in an isolated place filled with bright lights and deep pools of impenetrable shadow. EDIT
Posted Mar 9, 2019
Captain Marvel (2019) Shana O'Neil It rises to the occasion with strong performances and with its directors' willingness to slow down and take their story seriously, balancing humor, action, and exposition in a carefully calibrated package. EDIT
Posted Mar 5, 2019
For the Love of Spock (2016) Keith Phipps The film offers a better sense of who Leonard Nimoy was, and where Spock came from, than a more objective approach could. EDIT
Posted Mar 1, 2019
How to Train Your Dragon: The Hidden World (2019) Tasha Robinson This film feels like the studio wanted it to be the next step in its development toward more ambitious stories. Instead, it's a gorgeous hangout movie. There are worse things to be. EDIT
Posted Feb 22, 2019
The Wandering Earth (2019) Tasha Robinson Director Frant Gwo gives the film a surprising stateliness, especially in the scenes of the mobile Earth wandering the cosmos, wreathed in tiny blue jets that leave eerie space-contrails behind. EDIT
Posted Feb 11, 2019
High Flying Bird (2019) Keith Phipps Yet, regardless of how the film looks, Soderbergh's pacing and gift for editing are what keep the action tight, while McCraney's crisp dialogue livens up potentially mundane, exposition-heavy exchanges. EDIT
Posted Feb 8, 2019
The LEGO Movie 2: The Second Part (2019) Tasha Robinson It ends up feeling like more than an obligatory cash-in: it builds a whole new layer on top of the Lego Movie foundations. EDIT
Posted Feb 7, 2019
Jawline (2019) Adi Robertson Jawline explores what's unique about social media stardom without overemphasizing its novelty, so the film works as a dissection of modern digital celebrity, but also a classic story about beautiful young people struggling to get famous. EDIT
Posted Feb 6, 2019
Velvet Buzzsaw (2019) Tasha Robinson The setting Gilroy creates here is so much more engaging than what he does with it. EDIT
Posted Feb 4, 2019
Horror Noire: A History of Black Horror (2019) Noah Berlatsky Horror Noire's greatest strength may be the way it manages to embrace the viewpoints of scholars and fans at the same time. EDIT
Posted Feb 1, 2019
The Great Hack (2019) Adi Robertson The Great Hack is sometimes fascinating, especially when it's delving into the shady inner workings of Cambridge Analytica. And it covers timely and important themes. But for a film about resisting propaganda, it's surprisingly credulous. EDIT
Posted Feb 1, 2019
Alita: Battle Angel (2019) Samantha Nelson It's a shame that the film doesn't stand on its own, with a story as creative and engaging as its setting. EDIT
Posted Feb 1, 2019
I Am Mother (2019) Adi Robertson I Am Mother isn't an incredibly smart or memorable take on artificial intelligence, but the film still taps into some potent cultural anxieties. EDIT
Posted Jan 29, 2019
Hail Satan? (2019) Tasha Robinson It's hilarious. EDIT
Posted Jan 28, 2019
The Inventor: Out for Blood in Silicon Valley (2019) Tasha Robinson Viewers are left to interpret as they prefer... But just as that approach feels admirable because it isn't heavy-handed, forcing an agenda or hectoring the audience to take up a specific moral stance, it also feels a little empty. EDIT
Posted Jan 25, 2019
The Kid Who Would Be King (2019) Jesse Hassenger Why is someone as talented as Joe Cornish dedicating himself to different varieties of Amblin pastiche? EDIT
Posted Jan 24, 2019
Replicas (2018) Jesse Hassenger Poor audience members may only feel disoriented, as the line between A-movie, B-movie, and D-list embarrassment continues to futuristically blur. EDIT
Posted Jan 11, 2019
Mercury 13 (2018) Alessandra Potenza But their determination and commitment did manage to inspire other women to pursue careers in spaceflight. Collins, the former NASA astronaut, is likely just one example. By telling their stories, Mercury 13 is trying to do the same. EDIT
Posted Dec 28, 2018
Bumblebee (2018) Bryan Bishop It isn't a flawless movie, and it nearly descends into self-parody at times, but after a decade of Bay's rock-'em sock-'em battles, Bumblebee nevertheless comes across like a mini-revelation: Transformers movies don't need to be terrible. EDIT
Posted Dec 20, 2018
Welcome to Marwen (2018) Jesse Hassenger Zemeckis seems to think he's showing heart. Instead, he's messily dissecting it. EDIT
Posted Dec 20, 2018
Aquaman (2018) Devon Maloney Whatever the case, Aquaman falls into an uncomfortable try-hard dead zone that leaves it in better shape than, say, Batman v. Superman or Suicide Squad, but just shy of the gleefully anarchic predecessors... like Jupiter Ascending. EDIT
Posted Dec 19, 2018
Fantastic Beasts: The Crimes of Grindelwald (2018) Chaim Gartenberg Hopefully, future installments will learn the lessons of The Last Jedi and start to reflect that by taking some risks, leaving this familiar storyline behind, killing some sacred cows, and trying something new. EDIT
Posted Nov 28, 2018
Spider-Man: Into the Spider-Verse (2018) Bryan Bishop It's innovative, irreverent, and dynamic. It's hilarious but exceptionally earnest, with a lead character worth caring about. EDIT
Posted Nov 28, 2018
Cam (2018) Bryan Bishop Cam never deals much with technology itself, and yet it's an effective, unnerving techno-thriller focused almost entirely on the emotions intertwined with our online interactions. EDIT
Posted Nov 18, 2018
Ralph Breaks the Internet (2018) Bryan Bishop It's kinetic, clever, and filled with video game cameos, though it doesn't fully achieve its Pixar-perfect ambitions. EDIT
Posted Nov 14, 2018
Overlord (2018) Bryan Bishop Overlord is an impressive directorial statement from a confident filmmaker who can handle dynamic action sequences and ratchet up tension like an action and horror veteran. EDIT
Posted Nov 12, 2018
Fantastic Beasts: The Crimes of Grindelwald (2018) Tasha Robinson The story is more dignified and tonally consistent than in the last film...but much of it plays out with just as little weight as Fantastic Beasts' silliest moments. EDIT
Posted Nov 8, 2018
Prospect (2018) Bryan Bishop The finished product isn't as arresting as the best indie science fiction films, but it nevertheless establishes Caldwell and Earl as filmmakers to watch, capable of doing a lot with very little. EDIT
Posted Oct 31, 2018
Suspiria (2018) Bryan Bishop he result is unlikely to be as influential as Argento's movie, and it will test some viewers' patience, but it's still a bold, hypnotic work, an example of the richness that today's generation of filmmakers are bringing to the horror genre. EDIT
Posted Oct 23, 2018
The Thinning (2016) Adi Robertson The film seems utterly indifferent toward its own subject matter. EDIT
Posted Oct 23, 2018
Apostle (2018) Tasha Robinson But for the most part, it's a breathlessly oppressive experience, a dark and sometimes strikingly beautiful film that lives up to its most obvious cinematic forefathers. EDIT
Posted Oct 12, 2018
You Might Be the Killer (2018) Tasha Robinson This isn't challenging filmmaking, but for what it is - a shared social-media joke turned into a shared cultural joke - it's a pretty diverting way for horror fans to spend about 90 minutes. EDIT
Posted Oct 5, 2018
Venom (2018) Bryan Bishop It's a train wreck of a movie, mixing and matching wildly dissonant tones, bizarre plot contrivances, and a truly unique lead performance. EDIT
Posted Oct 2, 2018
Destroyer (2018) Bryan Bishop It's yet another sign that we need more Karyn Kusama films in the world, whether big or small. EDIT
Posted Sep 25, 2018
The House With a Clock in Its Walls (2018) Tasha Robinson The book is a charmingly quaint, deeply eerie supernatural mystery about grief, necromancy, and the apocalypse. The movie version is a shrieking CGI carnival full of poop jokes and barfing pumpkins. EDIT
Posted Sep 25, 2018
The Creepy Line (2018) Adi Robertson The Creepy Line is supposed to provide a rigorous, scientific analysis to back it up. Instead, it's a blinkered and misleading guide to how internet platforms work. EDIT
Posted Sep 20, 2018
Hold the Dark (2018) Tasha Robinson The story doesn't entirely hold together after the fact... but as is typical for Saulnier, it's shocking and moving while it's actually going on. EDIT
Posted Sep 13, 2018
Freaks (2018) Tasha Robinson In a world packed with information, it's outright exciting to know so little about where a story is going, or how far it's willing to go to get there. EDIT
Posted Sep 12, 2018
First Man (2018) Bryan Bishop It's an epic, ambitious film, but it ends just shy of true greatness. EDIT
Posted Sep 12, 2018
Halloween (2018) Bryan Bishop It ultimately feels like a decent movie that could have been a very good movie, if only Green had been able to modulate his tone more effectively. EDIT
Posted Sep 10, 2018
A Star Is Born (2018) Bryan Bishop It's valid to ask whether a movie needs to be made a fourth time, but Cooper's fantastic, emotional film demonstrates how execution, style, and a modern point of view can make even the most familiar story fresh again. EDIT
Posted Sep 10, 2018
Outlaw King (2018) Tasha Robinson [David] Mackenzie may be making a point about the exhausting aspects of war... but while Outlaw King is a spectacle worthy of the big screen, its personal and emotional ambitions seem disappointingly small. EDIT
Posted Sep 10, 2018
The Predator (2018) Bryan Bishop The film jumps around between so many characters that it's almost impossible to feel any real tension, much less emotional investment. EDIT
Posted Sep 10, 2018
The Wild Angels (1966) Keith Phipps In many ways, The Wild Angels was a bellwether of where the decade was headed. EDIT
Posted Sep 7, 2018
The Happytime Murders (2018) Bryan Bishop Sure enough, the film gets things off to a fun and surprising start... Then there's the rest of the movie. EDIT
Posted Aug 27, 2018
Elizabeth Harvest (2018) Tasha Robinson Arguably, Elizabeth Harvest is about those favorite science-fiction standbys: identity, hubris, and humanity's darkest sides. EDIT
Posted Aug 21, 2018
Christopher Robin (2018) Bryan Bishop Christopher Robin doesn't just use nostalgia as a salve; it uses it as a way to mourn things that we've lost in our lives and as a way to unpack how our actions can hurt those around us. EDIT
Posted Aug 3, 2018