Movie Reviews Published by RogerEbert.com - Page 34 of 279

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Review of Memory (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 29 Apr 2022

Memory is a little better than the majority of Neeson’s recent action excursions and there's a chance it may prove to be better than most…

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Review of Vortex (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 29 Apr 2022

One leaves Vortex feeling cleansed by fire…

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Review of Crush (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 29 Apr 2022

Despite the familiar settings and tropes in director Sammi Cohen’s debut feature film, Crush feels refreshingly contemporary…

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Review of 365 Days: This Day (2022)

By Katie Rife (451) for RogerEbert.com (5,563) on 29 Apr 2022

365 Days: This Day is barely a movie…

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Review of Memory (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 29 Apr 2022

Memory is a little better than the majority of Neeson’s recent action excursions and there's a chance it may prove to be better than most…

Read Review

Review of Memory (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 29 Apr 2022

Memory is a little better than the majority of Neeson’s recent action excursions and there's a chance it may prove to be better than most…

Read Review

Review of Vortex (2021)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 29 Apr 2022

One leaves Vortex feeling cleansed by fire…

Read Review

Review of Crush (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 29 Apr 2022

Despite the familiar settings and tropes in director Sammi Cohen’s debut feature film, Crush feels refreshingly contemporary…

Read Review

Review of Crush (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 29 Apr 2022

Despite the familiar settings and tropes in director Sammi Cohen’s debut feature film, Crush feels refreshingly contemporary…

Read Review

Review of Hatching (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 29 Apr 2022

I often wished there was more to Hatching than just a few weak digs at bad mothers who are a little too online…

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Review of Take Me to the River: New Orleans (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 29 Apr 2022

Take Me to the River: New Orleans is essentially a feature-length version of a commercial put out by the city’s tourism board hoping to lure…

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Review of The Aviary (2022)

By Odie Henderson (402) for RogerEbert.com (5,563) on 29 Apr 2022

The Aviary experiences a drop in quality during its attempts to goose the audience, but its two lead performances remain consistent…

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Review of Crush (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 29 Apr 2022

Despite the familiar settings and tropes in director Sammi Cohen’s debut feature film, Crush feels refreshingly contemporary…

Read Review

Review of Fiddler's Journey to the Big Screen (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 29 Apr 2022

The best part of a documentary like Fiddler's Journey to the Big Screen is how it peeks into the thinking of those rare people who can piece…

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Review of I Love America (2022)

By Tomris Laffly (460) for RogerEbert.com (5,563) on 29 Apr 2022

I Love America is hardly a life-changing rom-com. But it’s a good candidate for your next airplane watch…

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Review of The Mystery of Marilyn Monroe: The Unheard Tapes (2022)

By Nick Allen (397) for RogerEbert.com (5,563) on 27 Apr 2022

It is too touch-and-go, too speculative about her life and mysterious death, to be of any genuine purpose…

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Review of The Survivor (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 27 Apr 2022

Like its lead character, and the actor who plays him, Barry Levinson's The Survivor initially presents as familiar and comprehensible…

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Review of The Survivor (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 27 Apr 2022

Like its lead character, and the actor who plays him, Barry Levinson's The Survivor initially presents as familiar and comprehensible…

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Review of The Duke (2021)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 22 Apr 2022

The Duke is not his all-time-best picture, but it’s a very strong one, and it showcases his varied strengths as a filmmaker rather nicely…

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Review of Marvelous and the Black Hole (2022)

By Katie Rife (451) for RogerEbert.com (5,563) on 22 Apr 2022

That heartfelt element translates into the benevolence of the adults in this film—Perlman is especially big-hearted, no surprise there—not…

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