Movie Reviews Published by RogerEbert.com - Page 31 of 279

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Review of Jerry & Marge Go Large (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 17 Jun 2022

There’s a version of Jerry & Marge Go Large that’s more like an early Tom McCarthy film, a movie that takes itself seriously as a character…

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Review of Abandoned (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 17 Jun 2022

Instead of ratcheting up tension, Squire seems content to sustain a minor-stakes atmosphere that, well, abandons his leading lady in a film…

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Review of Abandoned (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 17 Jun 2022

Instead of ratcheting up tension, Squire seems content to sustain a minor-stakes atmosphere that, well, abandons his leading lady in a film…

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Review of Brian and Charles (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 16 Jun 2022

There are certain varieties of whimsy that either click with you or don’t…

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Review of Father of the Bride (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 16 Jun 2022

Garcia and Estefan and all of our feelings about weddings bring so much warmth and good humor to the movie that it calls for a yes on the RSVP…

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Review of Relative (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

By the time the film eases into its final stretch, it becomes a sub-genre of drama that I call accidental radio, meaning that even though there…

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Review of The Score (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 14 Jun 2022

The Score is an ambitious effort, a movie that is both a tense crime drama and a musical…

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Review of Jurassic World Dominion (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

Ninety minutes of footage like this, minus any characters or plot at all, probably would've resulted in an artistically better use of a couple…

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Review of Mad God (2021)

By Simon Abrams (730) for RogerEbert.com (5,563) on 14 Jun 2022

Imagine, if you will, a dystopian nightmare set in a post-industrialized world that’s forever teetering on its last legs, but never quite…

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Review of Halftime (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 14 Jun 2022

Instead of leaving viewers with a better or more informed idea of what makes her tick as a person and as an artist, Halftime feels more like…

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Review of I'm Charlie Walker (2022)

By Odie Henderson (402) for RogerEbert.com (5,563) on 14 Jun 2022

Not since Morgan Freeman’s Joe Clark in “Lean on Me” has a real-life person’s ass been kissed more by a movie…

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Review of The Score (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 14 Jun 2022

The Score is an ambitious effort, a movie that is both a tense crime drama and a musical…

Read Review

Review of Relative (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

By the time the film eases into its final stretch, it becomes a sub-genre of drama that I call accidental radio, meaning that even though there…

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Review of Lightyear (2022)

By Odie Henderson (402) for RogerEbert.com (5,563) on 13 Jun 2022

As far as spin-offs go, “Lightyear” is a lot of fun. The voice talent is topnotch, especially Palmer and Evans…

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Review of The Janes (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 08 Jun 2022

The documentary from directors Tia Lessin and Emma Pildes briskly tells the story of The Jane Collective, which helped thousands of women obtain…

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Review of Hustle (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 07 Jun 2022

If Hustle passes around a lot of sports movie cliches, it does so with a light touch…

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Review of Fire Island (2022)

By Odie Henderson (402) for RogerEbert.com (5,563) on 03 Jun 2022

Director Andrew Ahn proficiently handles the numerous plot lines, character conflicts, and the tonal shifts between raunch and sweetness…

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Review of Watcher (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 03 Jun 2022

This is a stylized affair, and the care taken with every choice—the apartment interior, the furnishings, the color of the curtains, Julia's…

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Review of Interceptor (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 03 Jun 2022

It is such an old-fashioned action film that it practically plays like a discarded Chuck Norris script, just with some modern gender politics…

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Review of Dashcam (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 03 Jun 2022

Dashcam succeeds as a barrage of icky stimuli that may go great with a rowdy audience…

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