Movie Reviews Published by Indiewire - Page 15 of 182

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Review of Alice, Darling (2022)

By Ryan Lattanzio (73) for IndieWire (3,631) on 16 Sep 2022

Kendrick makes the case for why she belongs in more dramatic roles that allow her to shed her normally peppy usually cheery onscreen persona…

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Review of The African Desperate (2022)

By Susannah Gruder (11) for IndieWire (3,631) on 15 Sep 2022

With its everyday setting and social interactions mixed with an obtrusive, innovative soundtrack (composed by the band Aunt Sister, along with…

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Review of Confess, Fletch (2022)

By Jude Dry (205) for IndieWire (3,631) on 15 Sep 2022

Though the original novels were written in the ’70s and ’80s, at times Confess, Fletch feels like a ’50s farce, with good old-fashioned…

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Review of The Greatest Beer Run Ever (2022)

By Kate Erbland (681) for IndieWire (3,631) on 15 Sep 2022

Like “Green Book,” The Greatest Beer Run Ever is a broad historical outing based on real people and real events, condensed down into an…

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Review of The Good Nurse (2022)

By Kate Erbland (681) for IndieWire (3,631) on 14 Sep 2022

It’s a nifty fit for the Danish filmmaker behind similarly cold-blooded dramas like “A War” and “A Highjacking,” who establishes…

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Review of The Silent Twins (2022)

By Adam Solomons (5) for IndieWire (3,631) on 14 Sep 2022

It’s a shame that telling the Gibbons’ true story is a task too difficult for The Silent Twins, because there are real signs of promise…

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Review of A Jazzman's Blues (2022)

By Katie Rife (451) for IndieWire (3,631) on 14 Sep 2022

At its core, A Jazzman’s Blues is a soap opera full of shocking secrets, emotional confrontations, and one exceedingly satisfying slap.The…

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Review of No Bears (2022)

By Sophie Monks Kaufman (221) for IndieWire (3,631) on 14 Sep 2022

Panahi is a director who has always mingled fact and fiction, and here the distinction is more addled than ever, so that by the time the final…

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Review of Wendell & Wild (2022)

By Emma Stefansky (22) for IndieWire (3,631) on 14 Sep 2022

The movie is a giddy joy, hilariously gross, and earnestly heartfelt, with the kind of icky-gooey attention to detail that makes Selick’s…

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Review of Ticket to Paradise (2022)

By Ella Kemp (95) for IndieWire (3,631) on 14 Sep 2022

Much of the charm of Ticket to Paradise comes from knowing exactly how this story will end — what would a good romantic comedy be without…

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Review of Causeway (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 14 Sep 2022

This could all feel schematic in lesser hands, but Neugebauer gives Lawrence and Henry the space they need to make the film’s characters…

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Review of My Policeman (2022)

By Ryan Lattanzio (73) for IndieWire (3,631) on 12 Sep 2022

My Policeman isn’t not arresting, and that’s thanks to the work of David Dawson and Emma Corrin, and not the film’s top biller, who was…

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Review of Catherine Called Birdy (2022)

By Kate Erbland (681) for IndieWire (3,631) on 11 Sep 2022

Catherine Called Birdy is so good, so raucous and wild and wise and witty, that it not only makes me eager to write in alliterative adjectives,…

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Review of The Fabelmans (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 11 Sep 2022

I’d say this playful yet nakedly personal coming-of-auteur epic was trying to split the difference between memoir and crowdpleaser, but it…

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Review of The Menu (2022)

By Christian Blauvelt (25) for IndieWire (3,631) on 11 Sep 2022

The Menu does do one thing exceptionally well: it holds your attention and makes you think for a time that any outcome is possible…

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Review of Bros (2022)

By Ryan Lattanzio (73) for IndieWire (3,631) on 10 Sep 2022

Eichner’s gay homage to the great American romcoms of yesterday looks and feels exactly like them, and that’s groundbreaking enough…

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Review of Glass Onion: A Knives Out Mystery (2022)

By Kate Erbland (681) for IndieWire (3,631) on 10 Sep 2022

Rest assured: Johnson isn’t reinventing the mystery movie with “Glass Onion,” but he is having a hell of a time lightly deconstructing…

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Review of The Woman King (2022)

By Kate Erbland (681) for IndieWire (3,631) on 10 Sep 2022

If this is what a Hollywood-ized and -sized blockbuster looks like in 2022, bring it on. Bring them all on. They’re worth the fight…

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Review of All the Beauty and the Bloodshed (2022)

By Sophie Monks Kaufman (221) for IndieWire (3,631) on 10 Sep 2022

Already a robust director, Laura Poitras has leveled up with a towering and devastating work of shocking intelligence and still greater emotional…

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Review of Brahmāstra Part One: Shiva (2022)

By Proma Khosla (6) for IndieWire (3,631) on 09 Sep 2022

The film is both sci-fi/fantasy and Bollywood romance, an ambitious introduction to a mythological cinematic universe with the expected hiccups…

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