‘Dunkirk’ Review


For a film that deserves to be seen on the biggest screen and in the best format possible—IMAX, 70mm, some combination thereof—Christopher Nolan’s Dunkirk is often at its best and most terrifying when we are trapped in close confines alongside the young men fleeing the Nazi onslaught: When we are below decks as a torpedo hits a destroyer filled with troops; when we are confronted with a shell-shocked soldier on a civilian ship who refuses to go below deck; when we are trapped inside a cockpit filling with water as the pilot struggles to open its jammed door.

‘Baby Driver,’ ‘Okja’ Reviews

Baby Driver

Of the 20 highest-grossing films released through the first half of 2017, just one—February’s Get Out—is a wholly original project. The rest are sequels (Guardians of the Galaxy Vol. 2, Cars 3) or exercises in franchise-extending universe building (Wonder Woman, Kong: Skull Island) or remakes (Beauty and the Beast) or reboots (Power Rangers) or adaptations of popular books (The Boss Baby, Captain Underpants) or some unholy amalgamation of several of the preceding categories (The Mummy).

‘The Mummy’ Review

The Mummy

The Mummy isn’t a movie so much as pre-packaged movie-like substance, an unholy combination of fading star power, intellectual property of questionable value, and studio desire to create a perpetual-motion movie machine in the form of a franchise that will appeal to people around the world for decades to come.