Once Upon a Time In Hollywood
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
No user info supplied.
Few films are imbued with such love for its characters. Their warmth and passions and imperfections make their 1979 Santa Barbara boardinghouse home a shangri-la, always in repair but forever whole. Writer Director Mike Mills has given us a film to cherish and hold tightly, something to squeeze when it seems like the world no longer makes sense. 20th Century Women is an argument that it does not need to, so long as you revel in the existence of those around you, even if they're temporary.
Though the narrative does not seem to be succinctly charted, 'Sword of Doom' makes up for it by being beautifully photographed and completely engaging, leading to a fiery climax that doesn't let up.
'Singin' in the Rain' is still a proven feast for the eyes and ears, full of charisma and intelligence and laughter.
A dismal attempt at rebooting a franchise that has replaced its only legitimate aspect with a wooden wannabe.
The narrative is completely overwrought with unnecessary plot lines and loose ends, but triple-threat Shawn Christensen knows what points to hit hard and hit them hard he does.
A jaunty joy ride that seeps with Guy Ritchie ooze, it's stylish through and through, even when the narrative doesn't hold up.
Trank's (not Trank's?) 'Fantastic Four' plods along well enough for 45 minutes, but then the script completely devolves into a mess of wince-inducing dialogue and thrown away plot points. Add sketchy-at-best CGI and you got a largely insignificant superhero film. A shame because the good cast really deserves better.
Giamatti's manic self-loathing is the films' greatest aspect, but Payne has written and directed a mature and humorous drama.
Paul Rudd leads this cheerful romp in the Marvel canon, one bolstered by fun and inventiveness rather than the usual superhero conventions some claim to grow tired of.
Tom Cruise and company are the nucleus of this franchise, the plot-lines the outer membrane. That's not to say the narrative is bad or anything, but it feels meaningless when you are having so much fun watching an action set piece set to opera. 'Rogue Nation' is a solid addition to a franchise that has proven reliable at crafting a wholly satisfying blockbuster.
The film's electric pace is synchronized well with Famuyiwa's seemingly itchy camera finger, but the overall message is lost on me.
An outlandish concoction of charm, wit, and Criterion Collection fetishism swathes this tender coming-of-age film.
'Inside Out' is all unique inventiveness and good voice acting and wonderful animation and tugging at the heart strings. At this point, we should expect nothing less from Pixar.
Moore's second outing as Bond is more engaging than the first due to a cheeky script, a better villain, and a more interesting plot.
'Love and Mercy' provides both an intimate and potent look into the mind of a unique artist, played superbly by both Dano and Cusack.
'Jurassic World' does not do anything compelling other than be a decently entertaining blockbuster and solidify Pratt as a capable action star.
'Tomorrowland' is an ambitious film that is clearly aiming for something unique, but the effect is lost in the muddled and unfocused narrative.
A satisfying comedy that ultimately proves to be neither extremely unique or memorable, but McCarthy is still enjoyable on screen and Statham steals every scene he's in.
This sequel offers some laughs, but its narrative is derivative and it is almost entirely forgettable.
'Fury Road' rips through conventional action movie norms to provide a visceral experience. Miller's choice to use practical effects pays off tenfold, as the stuntmen and pyrotechnics deserve as much recognition as the perfect cast. The Mad Max franchise is back, and so far its a wild ride.