Movie Reviews Published by RogerEbert.com - Page 36 of 279

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Review of Return to Space (2022)

By Matt Fagerholm (98) for RogerEbert.com (5,563) on 07 Apr 2022

Chin and Vasarhelyi make a solid case for why space exploration should continue, and the benefits we could reap from it, provided it doesn’t…

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Review of Tony Hawk: Until the Wheels Fall Off (2022)

By Nick Allen (397) for RogerEbert.com (5,563) on 05 Apr 2022

Tony Hawk: Until the Wheels Fall Off shines brightest when it resembles something like the Alex Honnold free-climbing documentary Free Solo,…

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Review of Better Nate Than Ever (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 01 Apr 2022

There are two good reasons to watch “Better Nate Than Ever.” First, it is smart, fun, and funny, a great movie to share with the family…

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Review of The Bubble (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 01 Apr 2022

The film is best in its embrace of the random, its moments when the talented and funny cast goof off with each other, responding to one another's…

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Review of Babi Yar. Context (2021)

By Simon Abrams (730) for RogerEbert.com (5,563) on 01 Apr 2022

The dual nature of “Babi Yar…

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Review of The Contractor (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 01 Apr 2022

The problem is that writer J.P…

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Review of You Won't Be Alone (2022)

By Tomris Laffly (460) for RogerEbert.com (5,563) on 01 Apr 2022

You Won’t Be Alone announces the arrival of a fierce new genre talent, an inventive stylist and an unapologetic interrogator of mankind with…

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Review of See You Then (2022)

By Nick Allen (397) for RogerEbert.com (5,563) on 01 Apr 2022

With fascinating confidence, “See You Then” honors the gradual evolution of a long talk, so much that their literal pacing reads as its…

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Review of Apollo 10½: A Space Age Childhood (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 01 Apr 2022

A film like Linklater's brings you inside the consciousness of a person whose perceptions of the world are simultaneously constrained and curious,…

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Review of Night's End (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 31 Mar 2022

The lo-fi horror film Night's End tries to combine old-fashioned haunted house chills with more contemporary technological terrors, but never…

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Review of Moonshot (2022)

By Nick Allen (397) for RogerEbert.com (5,563) on 31 Mar 2022

Moonshot is the kind of movie that’s frustrating because of what makes it endearing—there’s so much that makes you wish it were more…

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Review of Morbius (2022)

By Katie Rife (451) for RogerEbert.com (5,563) on 30 Mar 2022

The only really surprising—and, therefore, the most disappointing—thing about Morbius is the fact that it’s an honest-to-goodness horror…

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Review of How to Survive a Pandemic (2022)

By Matt Fagerholm (98) for RogerEbert.com (5,563) on 29 Mar 2022

I doubt How to Survive a Pandemic will alter anyone’s opinion regarding the necessity of vaccines, yet it does pay admirable tribute to the…

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Review of Infinite Storm (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 25 Mar 2022

If this movie and her previous project signal a shift in Watts' career that will be dominated by survival tales that put her at the center…

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Review of 7 Days (2021)

By Nick Allen (397) for RogerEbert.com (5,563) on 25 Mar 2022

7 Days has an overall sweetness that keeps it charismatic for its 85-minute runtime, with an agile directorial eye that makes sure the back-and-forth…

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Review of Topside (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 25 Mar 2022

The setting plumbs the depths but the movie stays on the surface…

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Review of Mothering Sunday (2021)

By Katie Rife (451) for RogerEbert.com (5,563) on 25 Mar 2022

On an intuitive, sensual level, “Mothering Sunday” is intoxicating. As a story with plot and characters, it’s nothing we haven’t seen before…

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Review of Superior (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 25 Mar 2022

While “Superior” has a rich style and a couple of intriguing ideas, it ultimately doesn’t add up to much, leaving you with the feeling…

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Review of You Are Not My Mother (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 24 Mar 2022

The final sequences are the only stock moments in this very specific family drama, and something about the last scene left me cold…

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Review of The Torch (2022)

By Robert Daniels (336) for RogerEbert.com (5,563) on 18 Mar 2022

The film struggles from scene to scene, incoherently tying elongated and repetitive montages of Guy and Sullivan performing together to hagiographic…

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