Any superhero film aiming for groundedness fails, as efforts to connect the superhero world with ours only illuminate the gap between the two. Groundedness has always been the wrong target; what’s essential is the suspension of disbelief. The Fantastic Four: First Steps embraces a commitment to cosmic-level escapism, delivering bright visuals and a swift plot that keeps disbelief in a deep sleep for the duration of its runtime. With the real world demanding more escapism, this film reintroduces the vibrant, energetic side of superhero cinema that viewers desperately crave.
As long as Hollywood has been making movies, they've been telling the same story about the Irish. At our best we're simple, hopeless romantics with a quiet, rural life. At our worst we're drunken, violent, dirty, law-breakers. Either way, we're almost always a joke or a punchline. You'd think by now, we'd be past this. But if you've seen some of Hollywood's recent depictions of Ireland, you'd understand why someone had to say something.
No Name Smurf experiences existential angst because he doesn't have his own skill or character trait that makes him stand out, leading to a revelation about his inner magic.
The glossary shows there's a lot more to the language of Clueless than Valspeak. There are tongue-in-cheek euphemisms like "hymenally challenged"—a politically correct way of saying someone's a virgin.
The studio, which has owned both the "Alien" and "Predator" franchises since it bought 20th Century Studios in 2019, hasn't announced a new crossover but has seemingly set the stage for the Xenomorphs and the Yautja to battle once again.
A century ago, the crime fiction industry was flourishing, with significant publications such as Agatha Christie’s The Secret of Chimneys and The Murder of Roger Ackroyd redefining the genre.
In the 32nd century context of the Trek timeline, Vulcans and Romulans are basically the same species, and plenty of other aliens seem to be from blended backgrounds too, so much so that even calling non-human characters 'aliens' feels inaccurate.
The two films embody a retreat from the dark, gritty, real-world templates that ran amok once the genre really took off over the last couple of decades. They offer a vision of heroism that includes self-sacrifice and protection of the innocent.
In a primary-colored, retro-futurist version of 1961 Manhattan, elastic Mister Fantastic and his wife Sue, aka Invisible Woman, are living in a sort of dysfunctional family with Sue's brother, Human Torch, and their buddy The Thing.