Critters fans have had slim pickings for a very long time, with lack of real printings of the original film on home media and new films coming together. Now in 2019 we finally got two new installments, but together they don’t really amount to much of a great “Critters” movie sadly. While “Critters Attack!” is waves better than “Critters: A New Binge” it’s still never as good as “Critters” parts one or two. It’s only an okay offering that’s right there beside “Critters 3.” That’s about as glowing as a recommendation that I can give it when all was said and done.
Spider-Man entrance in to the MCU has been a god send as Marvel had managed to touch on areas of the character that we haven’t seen before, while also fleshing out much if his universe and world. After the epics of “Captain Marvel” and “Avengers: Endgame,” Jon Watts’ “Far from Home” is a nice detour in to the MCU where the studio is able to book end their biggest event thus far. Closing out phase three of the MCU, “Far From Home” is a vastly superior film to “Homecoming” that benefits from the lack of Iron Man, believe it or not.
Proving once and for all that the “Conjuring” cinematic universe works so much better when New Line takes their time to offer something made with care rather than haste, “Annabelle Comes Home” is a third entry in to the spin off that delivers big time. 2014’s “Annabelle” is a distant memory now, as the series has managed to redeem the spin off transforming Annabelle the doll in to a worthwhile villain who brings only death and carnage where ever she is, and we never spend time trying to find out why. She’s merely an instrument for evil and that’s what helps “Annabelle Comes Home” as an entertaining monster movie about evil preying on the weak.
“Men in Black International” should have worked. On paper it’s a great idea for a reboot, one that doesn’t bring with it the marquee name of Will Smith and the class of Tommy Lee Jones. I respect Sony for wanting to revive the “Men in Black” franchise after so many years, and I respect them even more for side stepping the whole “21 Jump Street meets Men in Black” movie they were planning. But in the end, this new attempts to jump start “Men in Black” for a new audience is a swing and a colossal miss. Worse, it’s absolutely boring.
No matter what you feel about “Batman and Robin,” you can’t deny that it almost killed the comic book movie as a sub-genre. It also about killed the careers of Alicia Silverstone, Chris O’Donnell, and Uma Thurman, all of whom took years to recover. Even today with so much nostalgia and looking back on classically bad movies, “Batman and Robin” is still just bad. I understand Warner wanted kid friendly, and Joel Schumacher delivered on kid friendly, but in the process he also delivered a nigh unwatchable sequel that also killed Batman on film for years until Christopher Nolan swooped in to reboot the whole kit and caboodle.
With Disney’s acquisition of Fox Studios and many more of their Marvel properties, the Fox Studios “X-Men” franchise is done. It’s over. There’s no ifs, ands, or buts about it. With “Dark Phoenix,” Simon Kinberg tries to exercise the feeling of finality for an era that began in 2000. The problem with “Dark Phoenix” is that while the pieces are all there for a slam bang exciting finale, it’s a sequel that basically takes “The Last Stand” and tries to remake it in to something decent. And it fails, for the most part.
I’m frankly surprised that “Batman Forever” doesn’t show up often on lists about homoerotic mainstream films. In the annals of homoerotic cinema, “Batman Forever” is right up there. While Joel Schumacher pretty much does what Warner asked by making Batman less menacing, less violent, and a lot more family friendly, it’s also incredibly homoerotic. That doesn’t hinder the experience, but it’s worth discussing how Batman goes from fighting with a Latex covered sex zombie to building romantic tension with a young man he takes in seemingly out of nowhere.
If “Batman” was the opening act of Tim Burton’s iteration of Batman, “Batman Returns” is a pretty epic second chorus that pretty much completes the picture. Whether or not you believe Burton dropped out, or was ousted by Warner for being too dark or violent, “Batman Returns” is a pretty good closing chapter in Burton’s Batman world, even in spite of its flaws. Hell, it’s a better film than “Batman,” despite the fact it objectively garners the more obvious flaws than the 1989 original.