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  • Toy Story 4

    Toy Story 4

    ★★★★

    It doesn't have quite the emotional kick of TOY STORY 3 and is not the funniest entry, but TOY STORY 4 satisfies in every other respect. Tom Hanks is as wonderful as always and Christina Hendricks is very good as a doll who just wants to be loved (and isn't above using four creepy-looking ventriloquist dummy henchmen to achieve that goal). The animation is as remarkably detailed as we expect from Pixar, which continues to be the gold standard when it comes to this style.

  • Stealth

    Stealth

    ★★

    An A.I. superjet goes HAL 9000 and disobeys orders, so it's up to elite pilots Josh Lucas, Jessica Biel, and Jamie Foxx to take it out. If STEALTH is remembered at all, it is as one of the costliest flops of the era. Combining TOP GUN with a sci-fi premise isn't bad from a commercial standpoint, but this suffers from a surprisingly witless and predictable script, considering that screenwriter W.D. Richter is the creator of BUCKAROO BANZAI. Also, the vast majority of the thrills here come courtesy of CGI that hardly seems worthy of a $125 million picture (though there are some impressively ginormous practical explosions).

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  • One-Eyed Jacks

    One-Eyed Jacks

    ★★★★½

    Marlon Brando’s sole directorial effort is a magnificent looking oater that mixes familiar and contrasting elements in a stylistic manner that occasionally anticipates Sergio Leone’s work. He combines the more realistic and violent direction the genre was heading with romantic scenes shared by Brando and Pina Pellicer (a talented Mexican actress who committed suicide at a young age) seemingly dropped in from a more innocent age of the western. The blend works surprisingly well, and Brando’s performance is complimented by…

  • Kong: Skull Island

    Kong: Skull Island

    ★½

    Whatever its faults, Peter Jackson’s KING KONG was certainly ambitious. Notably, it presented us with the most expressive and interesting Kong to date. It also depicted the creature’s “relationship” with Ann Darrow in surprisingly effective fashion, lending real emotion and pathos to the climax. It doesn’t necessarily matter that KONG: SKULL ISLAND jettisons all of that and is simply intent on being a B-movie basher (albeit one with a $190 million budget), but it’s a project that is so insipid…