Movie Reviews Published by RogerEbert.com - Page 15 of 279

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Review of The Seven Faces of Jane (2023)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 17 Jan 2023

Did I like The Seven Faces of Jane…

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Review of Jethica (2023)

By Katie Rife (451) for RogerEbert.com (5,563) on 17 Jan 2023

This is a strange film all around, distractible and full of Olympic-level tonal gambits. Viewers’ mileage will vary. Wildly…

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Review of Dog Gone (2023)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 13 Jan 2023

As aww-inspiring as the human and dog moments in the movie are, it is the human encounters along the search that are the heart of the film…

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Review of The Devil Conspiracy (2023)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 13 Jan 2023

The Devil Conspiracy is nuttier than the proverbial fruitcake and twice as difficult to swallow, regardless of where you reside on the theological…

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Review of Skinamarink (2023)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 13 Jan 2023

It spends too much time in some of its beats—there’s a stronger, tighter version that’s more disquieting by not wearing out its welcome…

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Review of The Price We Pay (2023)

By Robert Daniels (336) for RogerEbert.com (5,563) on 13 Jan 2023

The sole redeeming quality in this 85-minute swill resides in the makeup and practical effects, which rely on viscous blood and gnarly props…

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Review of House Party (2023)

By Monica Castillo (380) for RogerEbert.com (5,563) on 13 Jan 2023

While this remix of House Party may leave some nostalgic for the original, it smartly doesn't try to copy the first film…

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Review of The Offering (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 13 Jan 2023

Ultimately, my problem with so many religious horror films like “The Offering” is that they’re insulated in a way that makes them more…

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Review of Plane (2023)

By Nick Allen (397) for RogerEbert.com (5,563) on 13 Jan 2023

Plane rushes through its emotional and explosive beats so that it can get to the next crisis without having to fill out the previous one, and…

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Review of House Party (2023)

By Monica Castillo (380) for RogerEbert.com (5,563) on 13 Jan 2023

While this remix of House Party may leave some nostalgic for the original, it smartly doesn't try to copy the first film…

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Review of Sick (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 13 Jan 2023

It takes a moment for the action to start—about 38 minutes—but once it does, this otherwise generic thriller’s flimsy relevance and unusual…

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Review of M3GAN (2022)

By Katie Rife (451) for RogerEbert.com (5,563) on 06 Jan 2023

The plot does have a few weak points and dangling threads, and the PG-13 rating ensures that the violence is tamped down before it can reach…

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Review of The Old Way (2023)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 06 Jan 2023

The Western may not be entirely dead yet, but The Old Way is not exactly doing it any favors…

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Review of Alcarràs (2022)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 06 Jan 2023

Amid tableaus of sundrenched landscapes, Simón’s instinct for eliciting naturalistic performances—displayed in her feature debut “Summer…

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Review of Broker (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 02 Jan 2023

This is a moving drama about people pushed together by fate who end up not merely helping each other survive but elevate through an increasingly…

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Review of The Pale Blue Eye (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 02 Jan 2023

It’s only after the supposedly central mystery is solved that The Pale Blue Eye fully commits to its actual business, serving up in full…

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Review of Turn Every Page - The Adventures of Robert Caro and Robert Gottlieb (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 02 Jan 2023

Gottlieb (the director) uses a very light touch throughout. This is a family affair…

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Review of Women Talking (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 02 Jan 2023

Sarah Polley's trust in the material—and her actors—allows for the performances to flourish, and the performances drive the story along…

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Review of A Man Called Otto (2022)

By Tomris Laffly (460) for RogerEbert.com (5,563) on 02 Jan 2023

A Man Called Otto isn’t exactly as philosophical as “About Schmidt” or as socially conscious as “I, Daniel Blake,” two films that…

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Review of Joyride (2022)

By Monica Castillo (380) for RogerEbert.com (5,563) on 02 Jan 2023

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable…

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