Sean Collier’s Popcorn for Dinner
Producer James Cameron and Director Robert Rodriguez team up for a sci-fi epic depressingly similar to a dozen others.
The original "Lego Movie" was a welcome surprise. Somehow, the sequel manages to improve on its predecessor.
The new Netflix drama doesn't live up to its ambitions, but a game cast keeps it moving.
Jamie Lee Curtis is worth your attention in a film that is otherwise a mixed bag.
Live-action, family adventure is a rarity at the modern multiplex. Fortunately, this one's pretty good.
Pittsburgh Magazine film critic Sean Collier has reviewed seven of the eight films nominated for Best Picture at the 2019 Academy Awards. Below, a look back at Sean's reviews of those seven movies — plus, to make up for the oversight, one more that should've received a nod.
IFC Midnight's collegiate terror tale is mostly for genre fans, but it lands a few decent punches.
M. Night Shyamalan's crossover film lands with a splat, as the filmmaker once again can't resist his worst impulses.
Despite the best efforts of its stars, there's no good reason this tired formula needed another movie.
Ruth Bader Ginsburg deserves better treatment than this by-the-numbers biopic.
PM Film Critic Sean Collier counts down the 10 best films of 2018.
Adam McKay's biography of Dick Cheney is excellently made — and far more interesting than you might expect.
Barry Jenkins' beautiful follow-up to "Moonlight" confirms the writer/director is a first-rate filmmaker.
While it's outshined by a similar rival currently in theaters, the historical drama has plenty to offer.
DC's latest superhero flick is ridiculous and over-the-top, but it just barely comes together.
The belated Disney sequel is a waste of a practically perfect character, even in its winning moments.
The quirky period drama starring Emma Stone is one of the year's best films.
The animated wing of Spider-Man's movie world proves to be a groundbreaking step in animation.
Natalie Portman stars in an intriguing (but strange) popstar story.
Another attempt to start a dystopian franchise can't deliver on its strong premise.
It's a fair Vincent Van Gogh biopic, but fails to make a strong impression.
It's tough to take a setting this creepy and waste it, but this limp possession flick manages to do just that.
It's not the revelation its predecessor was, but it makes for a perfectly engaging boxing flick.
Don't mistake this breezy drama for Oscar material; it's a well-acted holiday ramble, but not much more.