In this under-loved third installment of the Pirates franchise, the world is so batshit that Captain Jack could only get in the movie’s way if he blundered through it in great noisy slapstick scenes.

Repeated viewings reveal the film to be, not only a very good superhero movie, but a high watermark for the genre.

The folk horror franchise’s third installment relishes in the gonzo freedom of direct-to-video horror and the practical-effects mastery that matured throughout the 1980s.

Message in a Bottle almost exists in a different realm entirely—one on the precipice of a new millennium while still continually stuck in the age of ‘90s rom-coms.

The blend of Cormac McCarthy’s cowboy navel-gazing and Ridley Scott’s insistence to play things both perfectly straight and absolutely absurd makes it stand out from the filmmaker’s storied and wildly inconsistent filmography.

Some of the most delicate work Eastwood has ever done.

Maleficent is the quintessential strong female lead who doesn't need to adopt traditionally masculine qualities to defeat the men arrayed against her.

Remains the greatest entry in the strange milieu of Tarantino knock-off cinema, despite being all but written off at the time of its release.

Roberts’ layered, campy performance of the Evil Queen, as well as the reflection in her magic mirror, is in itself a work of art.

Deserves another look as a forgotten masterpiece of 2000s-era sex comedies.