Previous attempts to cinematically portray Marvel’s first family have fared, shall we say, poorly, from the Roger Corman-produced cheesefest back in 1994, to the reviled pair of early aughts flicks by Tim Story; to the even more despised misfire by Josh Trank, which led to many essays worth of angst about studio interference and the incredible pressure on young filmmakers to succeed at cost of their souls. 

If the beauty of the classic Western at least partially lies in its dependably simplistic morality  —  a villain doing wrong; and a hero stopping them cold  — the modern “neo-western” as Ari Aster’s satirically topical film has often been classified, becomes almost the literal opposite: A film where morality shifts and scuttles about, before getting bludgeoned, shot, blown up, and, eventually paved over and turned into a high-tech office building. 

The Unbearable Weight of Massive Talent suffocates amid the challenge of its central stunt casting and doesn’t approach the level of crazy that you expect until too late.

Not even the star power of Gal Gadot can save Wonder Woman 1984 from its many WWTF moments.

Does little to help us rekindle the original film’s energy or, I fear, its success.

Triple Frontier is reminiscent of 1999’s Three Kings, but without the humor or the thought-out plot.

The Great Wall feels like the superior source material for Starship Troopers.