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www.goldderby.com

James Bond Movies Ranked From Worst To Best

This ranking aggregates critical and audience scores from Rotten Tomatoes, Metacritic, and IMDb (combined out of 300) to determine the best and worst Bond films. Goldfinger emerges at the top with 261 points, while The Man With the Golden Gun ranks lowest at 149, with classic Connery films and recent Daniel Craig entries generally scoring higher than Roger Moore's 1980s outings. The list reveals that critical consensus tends to favor Bond films from the 1960s and recent reboots over the middling reviews given to many films from the franchise's middle decades.

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www.mensjournal.com

Best James Bond Movies of All Time, Ranked | Men's Journal

This article ranks all 25 James Bond films from worst to best, beginning with Timothy Dalton's *The Living Daylights* and culminating in Sean Connery's *Thunderball*. Each entry includes a brief assessment of the film's strengths and weaknesses, behind-the-scenes trivia, and memorable quotes, spanning from the franchise's 1962 debut through Daniel Craig's 2015 *Spectre*. The rankings reflect both critical perspective and the evolution of Bond's character across different actors and eras, acknowledging shifts in tone from campy to gritty to the influence of competing spy franchises like the Bourne series.

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apple.news

www.bbc.com

Digger review: Tom Cruise takes the 'biggest risk of his career' in this 'love-it-or-hate-it' folly ★★★★☆

Directed by Alejandro G Iñárritu, *Digger* is an intentionally bizarre and politically uncompromising eco-satire in which Tom Cruise transforms himself into a bloated, grotesque Texas oil baron whose drilling operation causes a catastrophic iceberg to drift toward Europe, forcing a bumbling US government to respond. The film combines heavy-handed satire about environmental destruction and bureaucratic incompetence with two significant high-concept twists that reframe the entire narrative, making it a divisive "love-it-or-hate-it folly" rather than a prestige picture designed to win awards. Though audiences will likely be divided by its excessive style and sometimes exhausting runtime, *Digger* represents Cruise committing to an unconventional artistic vision with the same ambitious intensity he brings to his action films.

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Reelizer

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ComicBook.com

4 Time Travel Movies That No One Talks About, But Won't Break Your Brain From Science - ComicBook.com

This article recommends four underrated time-travel films that prioritize straightforward storytelling and emotional resonance over complex paradoxes and scientific explanations. The selections—Safety Not Guaranteed, Frequency, Beyond the Infinite Two Minutes, and The Fare—demonstrate that engaging time-travel narratives don't require elaborate mechanics or multiple timelines, but instead can explore character relationships and what people wish to change about their pasts.

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ComicBook.com

3 Criminally Underrated ‘00s Movies That Actually Shaped Their Genres (Including A Star Wars Director’s Forgotten Neo-Noir Gem) - ComicBook.com

This piece argues that three 2000s films—The Descent, Moon, and Brick—were criminally underrated despite having outsized influence on their respective genres and the broader film landscape. The Descent's female-centric cast and blend of psychological and visceral horror helped usher in elevated horror; Moon proved that introspective sci-fi focused on human emotion rather than spectacle could resonate deeply; and Brick demonstrated that seamlessly blending noir and high school drama could work, fundamentally changing how directors approach genre hybridity. Each film is credited with reshaping expectations for what its genre could achieve, even though they remain underappreciated for their cultural impact.

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ComicBook.com

The Perfect Superhero Cinematic Universe May Already Exist and It Isn't Marvel or DC - ComicBook.com

Black Hammer, a Dark Horse Comics series by Jeff Lemire that debuted in 2016, creates a cohesive superhero universe by blending pastiches of Marvel and DC characters—from a Thor/New Gods hybrid called Black Hammer to a gay Martian Manhunter analogue—and has expanded into a fully realized world with multiple spinoffs, prequels, and sequels that feel like decades of accumulated comic history. Unlike the declining MCU and rushed cinematic universes attempting to replicate its success, Black Hammer balances the mature, grounded storytelling that shows like Invincible and The Boys pioneered with the classic superhero thrills that made audiences fall in love with the genre in the first place. The piece argues that Black Hammer represents the next successful superhero property for adaptation precisely because it honors comic book history while offering something fresh rather than cynically imitating an outdated formula.

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www.nytimes.com

Best Movies of 2024 - The New York Times

This New York Times year-end list by chief critic Manohla Dargis opens by arguing that the mainstream conversation about a dying movie industry overlooks the far wider world of worthwhile films beyond big American studio releases. It then offers a ranked top 10, beginning with Payal Kapadia's "All We Imagine as Light," a tender drama about two nurses and a cook in Mumbai. The page is mostly cluttered with interface text (a "watch list" widget and access-verification notices), so the critic's framing and the opening pick are the parts worth keeping.

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Film Focus Online

'The Death of Robin Hood' Review: A Cold, Edgy and Try-hard Deconstruction of the Legend - Film Focus Online

Michael Sarnoski's Robin Hood film stars Hugh Jackman as a remorseless mass murderer attempting a revisionist deconstruction of the legend, opening with extreme gore before settling into a tedious meditation on regret and atonement. The film is technically accomplished in its cinematography and practical violence but collapses under its self-serious grimness, accidentally veering into comedy with lines like "I've killed so many children, I've lost count," while stripping away any traditional pleasures of the Robin Hood story in favor of inaccessible artiness. Despite strong craft and a capable cast, the film fails to generate either entertainment value or genuine profundity, landing instead as a joyless, audience-hostile exercise in self-indulgence.

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Gold Derby

2026 Telluride Film Festival unveils lineup: 9 must-see award contenders

The Telluride Film Festival, held over Labor Day weekend in Colorado, maintains its prestigious position on the awards circuit through a carefully curated, secretly-announced lineup that has consistently launched Oscar contenders—last year's festival led to nominations for films like Hamnet and Blue Moon. This year's slate features world premieres of films like The Debut with Julianne Moore and Andrew Haigh's A Long Winter, alongside Cannes favorites including Fjord and works from major studios like Netflix and A24, all overseen by director Julie Huntsinger's 20-year tenure that has kept the festival free from the diversity and studio participation problems plaguing other festivals. The festival also includes a guest director program curated by actress Rebecca Hall and restored classic screenings.

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Rolling Stone

The 50 Most Anticipated Movies of Fall 2026

A fall movie preview that picks 50 titles from Labor Day to Christmas, framed as a way through awards season's glut of prestige drama. It mixes the likely Oscar contenders (Cannes and Sundance favorites like *Fjord*, *Josephine*, and Hamaguchi's *All of a Sudden*) with franchise events (*Avengers: Doomsday* and *Dune: Part Three* opening the same day), odd pairings like Fincher directing a Tarantino-written Cliff Booth sequel, and a run of biopics and true-story dramas, including the *To Catch a Predator* origin film *Primetime*. Each entry gets a blunt blurb with cast, director pedigree, and the writers' enthusiasm or skepticism, so it works as a dated checklist of what to watch for rather than an argument.

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AV Club

The Dog Stars bites

Ridley Scott's adaptation of Peter Heller's post-apocalyptic novel follows a pilot named Hig who embarks on a cross-country journey after losing his dog, grappling with fundamental questions about whether to help strangers or prioritize survival through isolation. The film explores this moral tension through its characters—Hig advocates for human connection and community while his companions embrace self-preservation and suspicion—but undermines its own themes through uneven execution, cheap special effects, and a truncated final act. Scott's direction feels disengaged, Jacob Elordi's performance is flat and emotionally withdrawn, and the film lapses into troubling stereotypes when depicting marauders, making it one of Scott's most disappointing misfires.

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ComicBook.com

Cloak and Dagger Is Marvel’s Most Powerful Duo (and They Just Proved It)

In *Queen in Black: Defenders of Light and Dark* #2, Cloak and Dagger appear to die after being struck by Knull and Hela, but in an interdimensional realm they confront the In-Betweener, a cosmic entity of balance, and survive by affirming their spiritual connection as a dance rather than merely complementary powers. Upon their return to life, they emerge stronger than ever—with Dagger now wielding the All-Light Sword—and are ready to rejoin the fight against Knull's forces.

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Texas Monthly

Is Kyle Chandler the Greatest Television Actor of All Time? A Texas Monthly Investigation

This piece traces Kyle Chandler's four-decade TV career—from the overlooked Homefront and Early Edition through his iconic Friday Night Lights turn to the darker Bloodline and now Lanterns—arguing he embodies a specifically televisual kind of stardom, relatable rather than mythic, that has never quite translated to film. It contends Chandler's genius lies in exploiting audiences' accumulated intimacy with him across hundreds of hours of viewing, letting him subvert or deepen his everyman persona in later roles. The piece is really a case for Chandler as the medium's premier actor, using his new HBO role as Hal Jordan to revisit and reframe his whole body of work.

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screenrant.com

8 Near-Perfect Time Loop Movies That Do Something Different

A rundown of eight time-loop films that twist the familiar Groundhog Day formula in distinct ways: The Endless traps each character in their own separate, coexisting loop as a metaphor for nostalgia's pull; Palm Springs and Happy Death Day complicate the trope with a community of loopers and a mortal, unmasking-the-killer stakes clock, respectively; Donnie Darko and The Matrix Reloaded obscure or truncate the loop's mechanics entirely; and Timecrimes, Primer, and Run Lola Run push the concept toward slasher paradox, hard-science realism, and kinetic videogame-like momentum. Worth keeping as a quick reference for how differently the subgenre can handle repetition, memory, and stakes beyond the standard "same day, personal growth" template.

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