Dune preserves the source novel's integrity, preserving the political intrigue and character depth via clear, carefully defined script.
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Late '70s era slasher crud, The Toolbox Murders struggles to make any point as it exploits women for its cause.
Other than a moment of public panic, Halloween Kills provides nothing other than dull formula and nothing to enhance Michael Meyers' maniacal persona.
Another charming way to bring the challenges of a tech-focused adolescence to movie screens, Ron's Gone Wrong is a smart, clever delight.
Vapid and brief, Venom: Let There Be Carnage offers no substantial storytelling value to these characters other than a few rounds of fan service.
A comical villain and recycled plotting make Karate Kid Part III the weakest in the trilogy.
The Suicide Squad is hilariously funny and surprisingly political throughout this adventure with superhero misfits.
Steeped in post-WWII anxieties, Karate Kid Part II involves a deep anti-war philosophy while bemoaning the westernized takeover of Japanese culture as it expands the series' characters.
While Shang-Chi oftentimes feels more like a soulless mimic of Hong Kong cinema, the culture mix results in something distinctive.
A more mainstream sequel, Mad Max Beyond Thunderdome lacks the nuance and action pedigree of its predecessors, if still delivering on '80s era fantasy.
Hopped up on wartime ambition and bravery, Guns of Navarone immortalizes British heroism in a glossy, expensive production.
Defining an entire punk era, Road Warrior also envisioned a world stuck in a cult due to their addiction to oil that's more prescient in each passing day.