Robert Zemeckis has built a career as a premier techno-artist, almost always finding some groundbreaking visual effect to center his films around.
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Death Becomes Her (1992)
Author: Dan Stalcup
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Minions & Monsters (2026)
The Minions sub-franchise of Illumination’s flagship Despicable Me series is basically the Oops! All Berries of cinema.
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M3GAN 2.0 (2025)
M3GAN was one of the surprises of 2023, at least in terms of buzz and box office intake
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Weekend at Bernie’s II (1993)
How do you make a sequel to a black comedy about a dead body posing as a living man?
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Battleship Potemkin (1925)
Few movies in the history of the medium have been more relegated to the “film school” shelf than Battleship Potemkin:
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Weekend at Bernie’s (1989)
You know the premise of Weekend at Bernie’s.
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Puss in Boots: The Last Wish (2022)
It really isn’t that much of a surprise that Puss in Boots 2 is good.
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Puss in Boots (2011)
Comedy is subjective, but I always thought the Puss in Boots character as introduced in Shrek 2 is a lot less funny than his reputation.
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Shrek Forever After (2010)
After years of watered-down snarky comedies and diminishing returns, a major reinvention occurred at DreamWorks circa 2008-11.
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Shrek the Third (2007)
Shrek the Third dares to ask: What if the series continued the gag-heavy structure of Shrek 2, but without a single funny joke?