Movie Reviews by Marya E. Gates - Page 3 of 4

41-60 of 65 Reviews

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Review of The Blue Caftan (2023)

By Marya E. Gates (65) for The Playlist (3,871) on 29 Jul 2022

The Blue Caftan deftly explores the complexities of interpersonal and romantic relationships…

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Review of Medusa (2021)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 29 Jul 2022

Eliciting powerful performances from her two leads and striking visuals from cinematographer João Atala, “Medusa” casts its gaze at the…

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Review of Dreaming Walls (2022)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 08 Jul 2022

It’s in exploring the iconography of the hotel that the documentary shines the brightest…

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Review of Mr Malcolm's List (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 20 Jun 2022

With a script this sharp and performances this game, it’s a shame that the basic filmmaking doesn’t do anything visually to elevate the…

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Review of The Lost Girls (2022)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 17 Jun 2022

Incoherently directed, thematically muddled, and poorly acted, writer/director/producer/star Livia De Paolis’ drama The Lost Girls should…

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Review of The Janes (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 10 Jun 2022

While it is great that the documentary gives their commitment to direct action proper respect, it sometimes downplays exactly how important…

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Review of Spin Me Round (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 18 Mar 2022

Ultimately Spin Me Round is like a bad vacation where even the gorgeous Italian seaside isn’t enough to make the time spent feel worth it…

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Review of Bodies Bodies Bodies (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 17 Mar 2022

By combining petty drama, deadpan humor, and the terror of human emotions, the filmmakers effortlessly straddle a liminal space between comedy…

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Review of Gone in the Night (2022)

By Marya E. Gates (65) for TheWrap (3,203) on 16 Mar 2022

The blended tones and mixing of rom-com tropes with wry humor and mystery mostly work well until the film makes a hard pivot to biotech horror…

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Review of The Unbearable Weight of Massive Talent (2022)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 13 Mar 2022

Filled with easter eggs for fans of any facet of Cage's career, the filmmakers don’t place a judgment on which of his films have the most…

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Review of The Lost City (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 13 Mar 2022

Even with its rough edges, it’s refreshing to see something this big, this zany, and this open-hearted still has a place on the silver screen…

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Review of Everything Everywhere All at Once (2022)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 12 Mar 2022

Yeoh is the anchor of the film, given a role that showcases her wide range of talents, from her fine martial art skills to her superb comic…

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Review of The Weekend Away (2022)

By Marya E. Gates (65) for RogerEbert.com (5,563) on 03 Mar 2022

The Weekend Away is the best kind of purposely preposterous potboiler…

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Review of The Sky Is Everywhere (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 10 Feb 2022

The story beats are predictable, but Decker forges her own unruly and unforgettable path through them, crafting a teen film with avant-garde…

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Review of A Love Song (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 22 Jan 2022

Dickey and Studi are magnetic on-screen, oscillating between the easy chemistry of old friends, and the awkwardness of strangers…

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Review of When You Finish Saving the World (2023)

By Marya E. Gates (65) for The Playlist (3,871) on 22 Jan 2022

Its many playful edits, careful world-building, stellar performances, and insightful screenplay suggest Eisenberg is a filmmaker with a deep…

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Review of The Unforgivable (2021)

By Marya E. Gates (65) for The Playlist (3,871) on 17 Dec 2021

By keeping the film’s emotional core at a distance for most of the film, the only catharsis the audience feels during its denouement is from…

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Review of Silent Night (2021)

By Marya E. Gates (65) for The Playlist (3,871) on 03 Dec 2021

Highly ambitious, dark as midnight, and often hilarious, Griffin’s debut film Silent Night doesn’t always work, but her insightful look…

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Review of Nightmare Alley (2021)

By Marya E. Gates (65) for The Playlist (3,871) on 02 Dec 2021

Bloated at nearly 140 minutes with Cooper clearly miscast in the lead, it struggles to maintain urgency…

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Review of The Desperate Hour (2022)

By Marya E. Gates (65) for The Playlist (3,871) on 14 Sep 2021

Philip Noyce is a natural choice for this kind of film. He’s great with actresses in peril and at keeping tension ramped up to eleven…

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Marya E. Gates has written reviews for:

RogerEbert.com (5,563)
The Playlist (3,871)
TheWrap (3,203)

Marya E. Gates is connected to:

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