May December

In December, people’s entertainment vibes tend to be either festive (romantic comedies, holiday movies, musicals, action films) or big and bright (tentpole films like Wonka or epic Oscar bait). Ironically, May December is just the type of movie one craves in the quiet of January. I think Netflix missed on releasing this film at the wrong time and it runs the risk of not getting noticed. In the middle of the holiday excitement, I  struggled to fully enjoy this sly, slow-burning, uneasy film that explores the “grays” in people.

In this film by director Todd Haynes (Far From Heaven, Carol), television actress Elizabeth (Natalie Portman), visits tabloid couple Gracie (Julianne Moore) and Joe (Charles Melton) for her next role.

May December is mostly the story of two women and the lies they tell themselves — until the final arc where the focus shifts to Joe, a shift that elevates the emotion and depth.

The Ten Buck Review: Unnerving and undeniably well crafted.

Where to see it: On Netflix. See it in the chill of winter, not the joy of the holiday season.

Would it be better with Olivia Colman: Undoubtedly.

Award potential: Moore and Portman’s synced performances are undeniable and may cancel each other out in Oscar season, but Charles Melton is the film’s standout and most deserving of recognition. Golden Globes nominated all three actors. Its unnerving story and curious score choices should keep it out of Best Picture conversation.

The Ten Buck Review: Worth ten bucks.

Iron Claw

Similar to the electrifying atmosphere of the wrestling world, "Iron Claw" pulsates with raw energy, captivating entertainment, and raw emotion. Unlike the world of wrestling, this A24 drama is predominantly true. The narrative revolves around the six Von Erich brothers—Kevin (Zac Efron), David (Harris Dickinson), Kerry (Jeremy Allen White), and Mike (Stanley Simons)—and their wrestling dynasty during the 1970s and '80s led by their domineering father Fritz (Holt McCallany).

Writer-director Sean Durkin’s “The Iron Claw” delivers an emotional blow to those who may not know the tragic story of the Von Erich family and that’s about all I’ll say here about this Texas tale.

Iron Claw is skillfully crafted, featuring stunning cinematography and a compelling ensemble cast. (Despite Zack Efron's Hulkish transformation, which is equally impressive and distracting, similar to Bradley Cooper’s recent Maestro performance.)

However, its main drawback lies in the final stretch, where it doesn’t land the one-two punch. The narrative meanders a bit, and the inclusion of a dream sequence feels out of place, detracting from the authentic and raw story that had preceded it.

While its flaws and classic storytelling choices will probably miss the mark for Top Ten lists and award nominations, this is a solid, captivating and fully entertaining 2023 film that I recommend for almost all audiences.

In a nutshell: A film-quality true story and a solid KO for entertainment.

Where to find it: In theaters, starting December 22, 2023.

Would it be better with Olivia Colman: Of course it would.

Award potential: I think it will come just shy of picture and acting nominations, but the ensemble is strong. I would love to see a SAG ensemble nod.

The Ten Buck Review: Worth ten bucks.

Wonka

As someone who last saw Willy Wonka & The Chocolate Factory (1971) in the early 1980s and preferred the book back then, and as a film lover who never saw Tim Burton’s 2005 adaptation, it’s safe to say I was not looking for a franchise reboot. That is, until I saw that the director of the two Paddington movies, Paul King, was involved. I’m sure glad I gave it a chance.

Wonka is an unexpectedly sweet delight. King has delivered an unapologetically, old-fashioned musical treat that may be too sugary for those expecting the cynical and edgy devilishness of Johnny Depp’s recent take.

In a word, it’s charming.

Willy, a young man and chocolate maker now played by Timothee Chalamet in all his boyish sweetness, arrives in London with hopes that his confectionary treats will be discovered so that he can open his own shop. His hat is full of tricks and imaginations that come to life filling the first hour or more of the film with visual wonder, dazzling ensemble numbers and the spirit of limitless imagination.

The movie’s songs, written by Neil Hannon, move the plot along but you won’t remember any of them after this. Ironically, the film utilizes two original film songs “Pure Imagination” and the “Oompa Loompa”, which are both earworms.

I can only find criticism in that Wonka is challenged to provide more depth than an escape, and that the final half hour spends more focus on wrapping up a silly good-guy bad-guy plot.

Chalamet is a warm and winning Willy Wonka and this film surprised me. I’m not sure if this Ted Lasso-inspired goodness is a wholesome new trend or if the makers of the film have a surely dreadful trilogy planned where he starts out saintly before landing on the dark side, but I choose to think that King wanted to make a fully delightful film and succeeded.

In a nutshell: Surprisingly sweet and just the right dose of fun for a film released around the holidays. It’s this season’s golden ticket for the whole family.

Where to find it: In theaters. Opens Friday, December 15.

Would it be better with Olivia Colman: Surprise. Surprise. She’s in it (in a Miss Hannigan-type role) as is Mr. Bean (Rowan Atkinson), Mr. Carson (Jim Carter), Sally Hawkins, Keegan Michael Key— and Hugh Grant as an Oompa Loompa.

Award potential: It has the best shot at the Golden Globes which awards comedy/musical.

The Ten Buck Review: Worth ten bucks.

Maestro

Bradley Cooper's directorial debut (A Star is Born) hinted that a stellar director may have been introduced and now his second film as director and lead cements this status. Maestro shares the captivating life of legendary American composer and conductor, Leonard Bernstein, utilizing an impressionistic style that achieves a challenging task —distinguishing itself from conventional biographical films.

Maestro reveals itself in the gorgeous black and white, square aspect ratio and lush romantic style of its years before it digs deeper into the expanded, quite colorful life of Bernstein. The artistic flair continues from the symphonic emotions of early relationships to its dizzying climax that makes last year's Tar (2022) seem suddenly tame.

Cooper stars in the lead role as he did in 2018's A Star Is Born. Similarly to that film with Lady Gaga, he gives the most powerful scenes to his female co-lead, Carey Mulligan (Promising Young Woman, Drive, An Education) as actress Felicia Montealegre and wife of Bernstein. This is not a typical "wife" part as Mulligan delivers the most emotionally demanding scenes of her stellar career.

As someone who has overplayed his CD of Leonard Bernstein's New York, I was curious to learn the story of the man who brought us West Side Story's unforgettable score. Unexpectedly for me, the film takes a distinctly personal approach, delving into the intricacies of Bernstein and Montealegre's marriage. While we catch glimpses of the virtuoso in action on the podium, which Bradley Cooper tackles with fervor, I wanted a deeper exploration of the man responsible for West Side Story, Candide, and the most monumental symphonies of the last century.

That being said, and reviewing the film they decided to make, Maestro unfolds as a compelling narrative of an unsettling relationship, probing the fundamental question of what love truly is and whether various manifestations of it can unveil something transcendent.

From the sweeping youthfulness of their meet-cute to an On The Town-inspired musical flourish (that somehow Cooper pulls off) to their revelations to each other, as a Macy's Thanksgiving Parade float passes by their window, Maestro stands as an indelible portrayal of two lives intricately intertwined.

Cooper, hidden in both prosthetics and a talented transformation, is almost miscast as I found myself observing his disappearance into character and director choices for his own close-ups multiple times. Luckily, the success of the full film nullifies that critique.

In a nutshell: Cooper orchestrates this personal story with high style and a bravado performance as both actor and director.

Where to watch it: In theaters now, where it should be seen and heard. On Netflix December 20. Caution: it's not a holiday movie.

Would it be better with Olivia Colman: Of course.

Award potential: This film will do well at Golden Globes where Cooper is famously adored, but will continue on through SAG and Oscars in acting roles. Cooper's competition is tight for director when pitted against Scorsese Nolan and Gerwig — but I believe this daring vision-realized will land nominations for Oscar's Best Picture, Director, Screenplay, Actor and Actress.

The Ten Buck Review: Worth ten bucks.

Killers of the Flower Moon

As a fan of perfect two-hour movies, I do not enjoy prestige directors flexing their clout by indulging in bloated film times. Scorsese (The Irishman), Nolan (Oppenheimer), Cameron (Avatar: The Way of Water), Luhrman (Elvis) and Speilberg (Fablemans)are all guilty. So it brings me little joy to say that this film does justify its 3.5-hour runtime.

Martin Scorsese (Goodfellas, Taxi Driver, The Wolf of Wall Street) and co-writer Eric Roth (Dune, Mank) boldly take David Grann’s excellent, 2017 nonfiction page-turner and shift its focus to create an unforgettable, historic epic. 

The true story unfolds in the 1920s when White American settlers had forced the Osage people to migrate from Kansas to Oklahoma. This displacement was swiftly succeeded by a rush of oil and the emergence of a booming Osage town. However, this newfound wealth came at a steep cost, with a trail of murders and intricate conspiracies aimed at gaining control over the substantial fortune.

The original novel places its emphasis on a criminal investigation, unveiling the birth of the FBI as it gradually unravels the identity of the perpetrators with the suspense of a classic whodunit. Killers of the Flower Moon, the film, is more interested in bringing audiences right into the victimized tribal family and getting up close with the killers from the start. We see and feel the weight of these decisions.

The early neighborhood shootings and bombings recall scenes in Scorsese’s Goodfellas but as we get to know the characters, this evolved story becomes more intimate, personal and more powerful. Scorsese masterfully offers an intimate, visceral experience of how the conspiracy left an impact on individuals, families and the entire Osage community.

Additionally, give credit to Lily Gladstone (Reservation Dogs) as Mollie Burkhart. She shoulders the emotional narrative in a quiet performance that is unnerving.

 

Leonardo DiCaprio does some of his finest work as her husband, Ernest Burkhart. Robert DeNiro as William Hale and Jesse Plemons as FBI agency Tom White round out the top-notch cast.

At the core of the film lies the unsettling love shared by the Burkharts. Lily was always aware of wolf Ernest's ulterior motives, driven by avarice for her wealth, however, their deep affection for each other endured. 

In a chilling moment, when presented with an opportunity for honesty, Everett remains silent, betraying her fully and setting the stage for the film's climactic act. This bold and boffo conclusion avoids a clichéd courtroom scene, redefining Scorsese as a more contemporary filmmaker than his recent work implies.

Not that it matters. He's Martin Scorsese and this is both masterful moviemaking and also one of the finest films of the century.

In a nutshell: A masterpiece. Despite approaching four hours, it feels like two. I’d see this one again.

Where to see it: In theaters now; see it on the big screen.

Would it be better with Olivia Colman: Of course.

Award potential: All major categories for a large tally of nominations. Except editing.

The Ten Buck Review: Worth ten bucks.

saltburn

Saltburn is a captivating and stylish thriller that manages to remain engrossing even though it treads very familiar ground. Drawing inspiration from sociopathic classics from The Talented Mr. Ripley and You to the recent surge of satirical narratives on wealth, exemplified by Triangle of Sadness and White Lotus, this story echoes a wave of themes we’ve seen on screens of all sizes lately.

However, the standout performances keep you glued to the screen. Barry Keoghan (Banshees of Inisherin, Dunkirk) is fire as Oliver as student obsessed with fellow student and aristocrat Felix Catton (Jacob Elordi). Elordi (Euphoria, Priscilla) is equally dazzling as the posh Felix who invites Oliver to the family estate for the summer. Together, they exude undeniable star power.

Enter Rosamund Pike (Gone Girl, An Education), who shines as Felix’s mother and steals most scenes from Richard E Grant (as her husband and Felix’s father). Carey Mulligan (Promising Young Woman An Education), simply disappears into a small cameo role.

Writer-director Emerald Fennell (Promising Young Woman) stumbles a bit with noted familiar storyline, some sophomoric stunts and a fumble on when to close the show, but the Oscar winner for best original screenplay, for her first film ever, punctuates her sophomore outing and second sociopathic thriller with an unforgettable finish that Keoghan swings into with swagger.

The dialogue given to this exceptional ensemble is rich with witty banter, skillfully weaving in reflections on wealth disparity and the repercussions of obsession. Although it is hard to love this film, Saltburn undoubtedly earns a place as one of the better popcorn thrillers this year

In a nutshell: A familiar thriller peppered with some sophomoric stunts but saved by a great cast and witty script.

Where to find it: In theaters, beginning November 17, 2023.

Would it be better with Olivia Colman: Of course.

Award potential: In a year like last, Keoghan would take the Paul Mescal (Normal People, Aftersun) slot. But this year he's up against titans Cillian Murphy, DiCaprio, Bradley Cooper, Colman Domingo and Jeffery Wright — and dark thrillers rarely rise. Elordi

and Pike will and should also be on most shortlists but I don't expect this twisty tale to blow up award season.

The Ten Buck Review: Worth ten bucks

Past Lives

When Na Young, a 12-year-old from South Korea, embarks on a journey to Canada, she leaves behind her friend and initial crush, Hae Sung. After a span of twelve years, fate intervenes as they reunite through social media, rekindling their connection within the backdrop of Na Young's newfound home, New York City.

Past Lives explores a story of untapped possibilities and in-yun, the universe’s way of reuniting souls who shared a connection in previous lives. Luckily, it is quite the antidote to years of repetitive movies about multiverses.

Korean-born playwright and director Celine Song has crafted a powerful story for her exceptional feature debut. You'll notice a bar scene, featuring three characters that has more tension, emotion and commentary on humanity than most movies have in total.

In its own quiet and distinctive manner, Past Lives emerges as an emotionally resonant love story that stands out as one of the most impactful of this decade.

In a nutshell: Past Lives nails a combo of heartstring-tugging, aching romance and deep philosophical vibes. It also made me want to visit Manhattan soon.

Where to see it: In theaters.

Award potential: I would love to see a nomination for its Director, Song, the quiet-moment screenplay, its perfect score — and for Best Picture. 

Greta Lee (Russian Doll), Teo Yoo (Love to Hate You) and John Magaro (Tom Clancy's Jack Ryan) are a powerful trio — yet Lee has the best chance to stand out for award season.

The Ten Buck Review: Worth ten bucks.

Spider-Man: Across the Spider-Verse

Well past the point of watching the Spiderman origin story too many times, Spider-Man: Into the Spider-Verse (2018) blew into cinemas and told the story yet again. Not one time, but dozens as it was a running joke. With a strong story, dazzling visuals, and a running time of under two hours, it was one of the best films of its year. It even won an Oscar.

This summer we have its sequel and Spider-Man: Across the Spider-Verse falls way off the skyscraper. The film struggles with repetitiveness and is overly eager to top itself, resulting in an excess of high-octane action sequences that are hard to follow. 

There are 280 different Spider-people in this film and not one I cared about.

The art, while amazing, is also just trying to top the last film. That misguided, blaring purpose stuck with me more than the artistry involved. Also bloated, the running time. Two hours and 20 minutes built to a cliffhanger with another film to end whatever story they thought they had going. 

Maybe someone out there is willing to wait a year or more to see how "Spot" is defeated, but after this long session I'm the one who feels defeated.

In a nutshell: Too long. Too much. Too little to care about.

Where to see it: In your friendly, neighborhood theater.

Award potential: My spider-sense says it's a sure nominee for Best Animated Film.

The Ten Buck Review: Not worth ten bucks, not two and a half hours.

Oppenheimer

Christopher Nolan's Oppenheimer is a masterful and intellectually charged thriller that seamlessly weaves elements of character study, courtroom drama, and historical lessons into a gripping three-hour cinematic (IMAX-worthy) experience.

Cillian Murphy's (Peaky Blinders) Oscar-worthy portrayal of Julius Robert Oppenheimer, the father of the atomic bomb, is nothing short of exceptional. From the very first scene, where a poisoned apple sets the urgent tone, to the haunting moments of the atomic bombings of Hiroshima and Nagasaki, the film keeps audiences on the edge of their seats for two and a half hours. Unfortunately, the film goes on for almost another hour.

Nolan's decision to cast half of Hollywood proves to be a wise choice, considering the complexity of the story, the physical similarity of these 1940s men and the time span it covers in flashbacks. He's said its to help the audience follow who's who. It can't hurt for box office success either.

Oppenheimer reminded me of Oliver Stone's JFK (1991) with its large cast, courtroom scenes, and study of a turning point in American history. The cast includes Robert Downey Jr., Emily Blunt, Kenneth Branagh, Florence Pugh, Casey Affleck, Rami Malek, Josh Harnett, Tony Goldwyn, Matt Damon, Matthew Modine, Tom Conti and (whew!) Gary Oldman. Each sinking into almost identifiable roles. Except perhaps Matt Damon, who seems to think he was acting in The Monuments Men (2014) or one of the Ocean's movies.

From its seamlessly dizzy flow of flashbacks to its weighted introspection, every second of Oppenheimer is definitely a Nolan film. And one of his best. Telling a historical story, with accuracy respected, gives Nolan some restraint in storytelling that reduces his head-scratching tendencies (Tenet, Interstellar, Inception). Oppenheimer sits on the shelf with Nolan's Dunkirk, Memento and The Dark Knight.

Nolan manages to make complex subjects such as quantum mechanics accessible to the audience, pulling them into a gripping tale. However, the film falters slightly in its third act, shying away from a potentially more impactful climax, leading to a less riveting courtroom finale.

In a nutshell: Riveting and important, until it pulls back. Two and a half hours of truly great cinema stuck in a three-hour film.

Where to see it: In theatres now. Oppenheimer was shot in IMAX and should be seen that way.

Oscar Potential: Expect a sweep of nominations across Picture, Director, Cinematography, Screenplay, Acting and Technical categories. 

Wins could fall on Cillian Murphy. Florence Pugh (wow) does powerful emotional work in a thankless role and Emily Blunt is relegated to a wife role leaving more focus on others.

Cillian Murphy, in almost every scene of the film, is excellent and riveting. A nearly unrecognizable Robert Downey Jr. is a solid contender for Best Supporting Actor.

With its exceptional quiet-to-explosive sound design and Ludwigh Göransson's emotive score, Oppenheimer's best chances for Oscar wins lie in these categories.

The Ten Buck Review: Worth twenty bucks. See it in IMAX.

Barbie

First of all, doll hand high fives are in order. High five to the marketing campaign that created urgency for every demographic to get to the cinema. Another to director Greta Gerwig (Little Bird, Little Women) who didn't deliver a toy movie, but a fun, funny summer film with a universal message. Props to whoever convinced Mattel to take this risk. 

And thumbs up to Margot Robbie and Ryan Gosling for never letting us down.

That said, I enjoyed and appreciated this movie but didn't love it. I laughed a lot, but it could have been funnier. And its exploration of patriarchy, while often quite brilliant, was repeated every minute with every character and it became exhaustingly repetitive. Some variety would have helped this project reach a higher level.

However, did I mention that I laughed out loud, at a toy movie? Once it hits the small screen I won't see it twice, but it's totally worth a ticket this summer.

In a nutshell: It's the moment movie of the year so you might as well go; you'll laugh. Parents, do your homework on the right age for kid viewers.

Where to see it: In theaters now.

Award Potential: Some Golden Globe nominations will surely fill the Comedy/Musical categories. As far as Oscar, The Academy wants to reward female directors but Greta's achievements here will likely fade too much by drama season January to reward her for a Mattel movie. She'll have other chances.

The Ten Buck Review: Worth ten bucks.

Asteroid City

If you squirmed through Wes Anderson's French Dispatch, wishing for the whole thing to end quickly, you'll be happy to know that Asteroid City is a delightful outing. It's not on the upper shelf with Wes' Royal Tenebaums and Rushmore, mind you, but there will be no squirming for an hour and forty-four minutes. Well, maybe some at the very end.

The idiosyncratic director returns with a collection of idiots, "Braniacs" and his usual cast of players (sans Bill Murray). The story takes us on Route 66 to 1950s Asteroid City, a town famous for a famed meteor crater — and one that is about to receive a special visitor.

It's all breezy fun to take in. The gorgeous sets and visual take on 1950s Americana. The screwball comic pacing of Scarlett Johansson and Jason Schwatzman's characters. The vibrant colors. An talented cast of kids. And some inspired, wry comedy. I was thrilled to see it in a full theater as we found ourselves laughing together at all the right, awkward moments.

For most of the film, there is a plot that builds and keeps the interest going beyond the stylings. An indulgent, play-within-the-play diversion featuring Bryan Cranston, Edward Norton and Adrien Brody removes the viewer from the main story — not in a good way — and derails any story momentum. Unfortunately, the whole thing ends pretty flat by the end without a cohesive story or much of a point to make about love, death or life on earth, but at least it's not a collection of vignettes like the last film. When it's over, it's over.

In a nutshell: Style wins over substance in most of Anderson's films and it's true here. Asteroid City didn't quite land the ending but the kid stories are great as are the unforgettable Johansson and Schwartzman bits.

Where to see it: In theaters now.

Award potential: Seems like a lock for a nomination for Oscar's Best Production Design (retitled Art Direction). For Golden Globes, Johansson could see a nod for her roles as an actress and an actress in character. Tom Hanks, Steve Carell and Tilda Swifton's talents are wasted here.

The Ten Buck Review: See it in a theater with all your friends. Worth ten bucks.

Indiana Jones and the Dial of Destiny

It's not the years, it's the mileage

The first and third Indy films, Raiders of the Lost Ark (1981) and Indiana Jones and the Last Crusade (1989), are two perfect films on my short list of favorite films of all time. Let's start there.

Temple of Doom, the second film, is only memorable as the film that forced PG-13 into the rating system, introduced Speilberg to his wife and us to Ke Hu Quan as Short Round. The fourth and previous film, Kingdom of the Crystal Skull (2008), was not only the most disappointing sequel of all time, but it is also the worst Shia LeBeof film of all time. A grand title indeed.

Luckily, the fifth and final Harrison Ford film is a return to form.

It's a distant third, but a lively fun time at the movies with realistic action, bites of comedy, globe-trotting chases and an appropriately aged main character. A visually-weathered Ford matches the cynical, rugged, grumpy, wise-cracking character we love and he never seems out of place in any of the action that ensues. And it works well in a couple of soft moments that push extra, needed emotion into the series.

Whip-smart Phoebe Walker Bridge (Fleabag) and menacing Mads Milkensen (Another Round, Hannibal) expertly sink into the series as naturally as one could ever hope. I mean, Mads was always going to be a Bond villain or an Indiana Jones Nazi, so this is a treat realized. However, fully realized chemistry is displayed most in scenes between Indy and John Rhys-Davies, returning as Sallah.

The plot is centered around a real-life relic, the Antikythera, which promises legendary powers over time. While the "Dial of Destiny" is certainly an allegory here to the aging Ford and series, it is a useful device to propel a globe-trotting race to the finish.

Unfortunately, the finish includes an eye-roller climax common to every failed superhero film this decade. Hollywood, if your film doesn't have a Terminator, Doc Brown or Bill Nighy, leave time travel out of your plotline, please. 

The opening sequence, featuring a digitally de-aged Ford, is stellar as craftwork but is still not at a level that passes for authenticity. What a great idea to give us one last ride with a young Indiana Jones in action, but it didn't work. I was thrilled when we moved on to the real thing.

In a nutshell: Harrison Ford hangs up his hat with a respectable thrill ride worth a one-time watch. See it in the theater and enjoy these characters along with John Williams’ fanfare at theater-quality volume.

Where to find it: In theaters beginning June 30.

Award potential. Not that kind of film. Sentimental possibility for score.

The Ten Buck Review: Worth ten bucks.

The Flash

Other than The Dark Knight (2008), I must go back a few decades to the Tim Burton Batman (1989, 1992) films and Christopher Reeves' Superman (1978, 1980) to find a DC movie I fully enjoyed. Yeh, I enjoyed Gal Gadot’s onscreen presence as much as anyone but even the best of the two Wonder Woman (2017, 2020) films built up to a moment where she threw an important thing at an oversized bad guy— the finale of almost all of DC films.

I’m happy to say that The Flash comes t h i s  c l o s e to being that fun summer movie we’ve been waiting for. Its first, bright act has a solid mix of lean-forward action and light comedy. At this point on the first watch, I thought this may be the next Iron Man (2008) or Back to the Future (1985). Credit goes to the bright palette, clever writing — and a standout comedic performance by Ezra Miller (Perks of Being a Wallflower, We Need to Talk About Kevin).

The story revolves around Barry White/The Flash (Ezra Miller) and his wish to save his father from wrongful imprisonment. By speeding into the past and preventing his mother from being harmed, his family could be saved. Of course, changing the past has consequences.

Fast forward to the second act, which darkens a bit, literally, to take us into a hint of the vehicles, Batcave and world of Tim Burton’s Batman — delivering Michael Keaton’s return as Bruce Wayne. While this casting was widely announced in 2020, it’s still a delightful shock to see Keaton again onscreen in this role. Watching him onscreen, you realize he is definitively Batman, and when he literally says just that, you'll feel sorry for all those that followed him.

Unfortunately, the third act is filled with all the traps of superhero films. A bad guy that gets big. A thing you have to throw at it. Multiple universes, again. CGI army action, again. The end of the world at stake, again. Add to all that, an uninspired blurry fan service sequence that goes on too long and doesn't deliver the emotion that was surely intended.

While I was disappointed after all the recent CinemaCon buzz that hinted at a superhero masterpiece, I still got a rush from 2/3 of this film, which was completely enjoyable entertainment. Until someone cracks the code on the future of DC and Marvel, I can recommend this with a side of popcorn.

In a nutshell: Bright and light for most of the film. It's been overhyped, but if you see just one superhero movie a year, this is the one. Run don’t walk to avoid hearing all the spoilers.

Award potential: The CGI in the back third is sloppy. So it's an unlikely (but possible) contender for Best Visual Effects.

Where to see it: In theaters, beginning June 16, 2023.

The Ten Buck Review: Worth ten bucks.