DEADPOOL is defined by cheap satire and limp gags that fail to disguise a movie that is woefully at odds with itself.
The Transporter Refueled
The reboot of the Luc Besson-scripted TRANSPORTER series labours too much in a cliched revenge narrative to be as simple and entertaining as its predecessor.
Room
Despite compelling lead performances from Brie Larson and Jacob Tremblay, ROOM squashes Emma Donoghue’s rich novel into a generic, awards-baiting prison of its own.
Looking for Grace
LOOKING FOR GRACE is a film that leaves the audience asking too many questions at the expense of being a more coherent work.
Suffragette
SUFFRAGETTE fails to capture the diversity of the period it seeks to depict, appealing to universality at the expense of accuracy.
The Hateful Eight
THE HATEFUL EIGHT sees Quentin Tarantino at his most tedious and empty-headed, an overlong and overly simplistic tale of misanthropy.
The Bélier Family
Eric Lartigau’s crowdpleasing family dramedy is an uncomfortably bland and trope-filled tale of living with disability.
The Revenant
Alejandro Gonzáles Iñárritu’s latest is a bloated and arduous journey through Malickian mimicry and hyper-masculinity.
In the Heart of the Sea
IN THE HEART OF THE SEA is the latest in Ron Howard’s ongoing series of dull historical retreads, turning the voyage that inspired MOBY-DICK into an uninvolving survival drama.
Fantastic Four
Putting the hubbub of its theatrical release to one side leaves FANTASTIC FOUR a malformed curio, and a stark reminder of how drunk on franchise fervour we’ve become.