The End of Evangelion (1997)

NEON GENESIS EVANGELION ran for twenty-six episodes. The finale aggravated much of the audience, leading to much outcry, death threats to creator Hideaki Anno, and so on. Towards the end of the show, genre trappings increasingly fell away as the focus went more and more to the psychology of the characters, themes of the show…

Neon Genesis Evangelion: Death and Rebirth (1997)

Not quite just a clip show, NEON GENESIS: EVANGELION: DEATH & REBIRTH is comprised of two parts. The first, DEATH, is nearly entirely footage from the television show. The second, REBIRTH, is the first thirty minutes from what would end up being finalised as the sequel film to the show (often billed as an alternative…

Spider-Man: Far from Home (2019)

“It’s easy to fool people when they’re already fooling themselves.” After the behemoth of AVENGERS: ENDGAME and its dizzying success, the Marvel films turn inward with SPIDER-MAN: FAR FROM HOME, a surprisingly meta and cynical look at the artifice of ‘superhero cinema’ and how people – already operating under increasing self-delusion in both the film’s…

John Wick: Chapter 3 – Parabellum (2019)

Lacking the novel simplicity of the first film, or the wondrous lore-unfolding of the second, “John Wick: Chapter 3 – Parabellum” struggles a bit under its inferiority to its predecessors, but nonetheless offers much of what made those two films such enormous standouts in the genre. Gorgeous visuals, stunningly well-executed choreography, inspired action sequences, idiosyncratic…

Pokémon: Detective Pikachu (2019)

For a short while in the beginning of the film, it lives up to the “Detective” aspect of the title in a noir-tinged kind of affair, with characters talking like 40s cops and dames (Kathryn Newton is the stand-out of the live-action cast as seemingly the sole actor involved understanding the tone the film best…

Avengers: Endgame (2019)

One part “The Leftovers”, one part clip-show, one part “Avengers: Infinity War” all over again, “Avengers: Endgame” is an odd film. Perhaps that’s accomplishment enough for the twenty-second film in this unstoppable series. A brief prelude serves as a fascinating follow-up to its direct predecessor, then followed by nearly an hour flatly aping “The Leftovers”…

The Wife (2018)

Glenn Close brings a story thinner and trashier than it appears to life, really imbuing it with weight and a sense of emotional reality it perhaps doesn’t really earn on its own merits. Jonathan Pryce fits his role well, but the one-note act gets old. The film feels stretched, like it could justify maybe fifty…