“Spectre” is a frustrating film to review: in its attempt to provide a resolution to the last several films, it has one hand in the best of modern James Bond (“Casino Royale,” “Skyfall”) and one in the worst (“Quantum of Solace”). Here, Bond (Daniel Craig) continues his journey into the modern era: MI6 is planning to launch a giant global surveillance program, while villainous organization Spectre (headed by an enigmatic figure allegedly from Bond’s past)

All those golden autumn days the sky was full of wings. . . The wings and the golden weather and the tang of frost in the mornings made Laura want to go somewhere. She did not know where. She wanted only to go. “Let’s go West,” she said one night after supper. “Pa, can’t we go West when Uncle Henry does?” . . . “I know, little Half-pint,” said Pa, and his voice was very

“Yeah, what kind of monster would allow a German scientist to experiment on him to protect his country?” “We’re not at war.” “They are.” And with one short exchange, Age of Ultron immediately signaled something new and powerful; at least in this one instance, the enemy is a friend. Quicksilver and Scarlet Witch are the Captain America of another nation, a nation just as valuable as our own, a nation filled with loves, hates, fears,

Dusk is falling all around me, silently painting green leaves a crisp black silhouette against a living grey sky. A planet blinks open its eye, peering at me sitting here in the gathering darkness—alone. Winding down the day with a London Fog, staring at the sky all by one’s self may not be ideal for many; yet for me, this is my favourite part of the day. It is cool and quiet, a time of

I have never seen a film quite like this: a hyperkinetic, utterly relentless aural and visual onslaught that somehow never runs out of gas. George Miller’s postapocalyptic action spectacle is a thrilling summer movie if ever there was one, and demands to be viewed on the largest screen possible (if it’s between this and “Age of Ultron,” see “Fury Road”). The aesthetic is almost indescribable: a grungy ultra-saturated color palette coupled with outlandishly stylized dieselpunk

As “big, dumb movies” go, the last few “Fast and Furious” films are some of the best – they’re solidly character-driven, and generally pack an emotional heft beyond your average superhero flick. “Furious 7” is no exception: it’s a briskly paced, action-drenched adventure that hits a new high point for the franchise. In a nutshell, the “Fast and Furious” series centers on Dom Toretto (Vin Diesel), Brian O’Conner (Paul Walker), and their team of exceptionally