By Owen Gleiberman

If you go to see just one movie this year, Zack Snyder’s “Army of the Dead” might be the ticket — not because it’s the best movie you’ll see in 2021 (or maybe even this week), but because it’s a stylishly grandiose, muscular but conventional popcorn pageant that’s got something for just about everyone. It’s a zombie movie. It’s a heist thriller. It’s a sentimental father-daughter reconciliation story. It’s set in Las Vegas (albeit it the bombed-out…

By Peter Debruge

When H shows up for work in Guy Ritchie’s “Wrath of Man,” no one at Fortico Security has much reason to suspect he might have any motive other than protecting the cash for the armored-truck outfit. The new guy — who looks an awful lot like the bald bloke from the “Crank” and “Transporter” movies — doesn’t waste words. His backstory checks out, as do his references. He’s a decent shot, but not so good that it…

By Owen Gleiberman

It takes an extraordinarily diverse skill set to direct a great comic-book movie. You’ve got to be a visual-effects wizard; a maestro of story and pace; a popcorn humanist who can find the relatable dimension of a bunch of freaks in capes and breastplates and spandex; and enough of an artist to tie the whole thing together into an indelible Big Vision. It’s no wonder that in the years since Hollywood got eaten alive by comic-book culture,…

by Peter Debruge

It took four movies before Lee Isaac Chung was ready to tell the kind of story first-timers so often rush to share straight out of the gate. Not a coming-of-age movie so much as a deeply personal and lovingly poetic rendering of his Korean American childhood — specifically, how it felt for his immigrant family to adjust to life in small-town Arkansas — “Minari” benefits from the maturity and perspective Chung brings to the project. Waiting until…