Chris Klimek
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The sequel to the 2014 Godzillafinds two scientists and a bunch of monsters stranded in an undercooked story about an underdeveloped monster.
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Critic Chris Klimek crunches the numbers to examine how and why blockbuster films like Avengers: Endgame grew to such great, bladder-busting lengths.
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Tim Burton's take on the classic Disney animated feature does what it sets out to do in a kid-friendly, safe and unsurprising way devoid of the director's onetime idiosyncratic flair.
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Despite a surfeit of impressive talent behind and before the camera, and solid set-pieces, Robert Rodriguez's adaptation of a popular mangaabout a deadly teenage-ish robot feels thin, and dated.
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Peter Jackson's documentary, featuring expertly restored archival footage from the first World War, is "astonishing"; his "digital tools summon empathy, not spectacle."
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"Anyone can wear the mask," the film says, and indeed, multiple characters do — including Miles Morales, the first Afro-Latino Spidey.
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Director Luca Guadagnino follows up last year's Call Me By Your Name with a "punishing" and "confounding" remake of Dario Argento's beloved horror film about a dance troupe of witches.
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It's a "somewhat self-aware, mildly sci-fi tinged, numbingly unimaginative watering down ... of a genre landmark, relocated to Asia and aimed squarely at the world's largest movie market: China."
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Though it traffics in broad stereotypes, several funny performances nearly salvage this satiric tale of a faked kidnapping, greedy executives and dim-bulb criminals.
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Christian Gudegast's film about a bank heist in L.A. borrows so freely from Michael Mann's 1995 film Heatit never quite recovers from the deep cinematic debt.