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Review of Devotion (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 02 Dec 2022

As an intellectual dismantling of white savior narratives, Devotion is smartly done; as an enjoyable heartwarmer to watch with your uncle,…

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Review of Violent Night (2022)

By Brian Lowry (913) for CNN (497) on 02 Dec 2022

The idea of a nasty Christmas movie is nothing new, but Violent Night still manages to deliver the goods, mixing “Die Hard” and “Rambo”-style…

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Review of "Sr." (2022)

By Brian Lowry (913) for CNN (497) on 02 Dec 2022

At the end of Sr., a documentary so personal the word “intimate” almost doesn’t do it justice, Robert Downey Jr…

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Review of A Wounded Fawn (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 02 Dec 2022

While it’s not as overtly comedic as Stevens’ Jakob’s Wife, A Wounded Fawn is funny in its own way…

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Review of Tantura (2022)

By Ben Kenigsberg (863) for The New York Times (9,847) on 02 Dec 2022

The emerging film is not simply a persuasive augmentation of Katz’s argument, but also a disturbing portrait of how very human impulses —…

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Review of Bombshell (2019)

By Alejandro970 (859) on 02 Dec 2022

Supported by brilliant performances, this drama based on true events would only be the beginning of complaints about sexual harassment at work…

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Review of Lady Chatterley's Lover (2022)

By Tara Brady (805) for The Irish Times (483) on 02 Dec 2022

The pretty pictures and silhouetted, sanitised sex will do well enough for Bridgerton fans, but the material has strayed so far from the source,…

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Review of Three Minutes: A Lengthening (2022)

By Tara Brady (805) for The Irish Times (483) on 02 Dec 2022

Between Kurtz and Stigter – a Dutch journalist who authored Atlas Of An Occupied City: Amsterdam 1940-1945 – no stone is left unturned…

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Review of Troll (2022)

By Jesse Hassenger (800) for Polygon (677) on 02 Dec 2022

Roar Uthaug is not a director who seems destined for greater, grander epics, and that’s one of his best qualities…

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Review of Emancipation (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 02 Dec 2022

[Smith's] conviction carries Emancipation a long way, elevating what is essentially a B movie to the realm of something better than its outsize…

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Review of "Sr." (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 02 Dec 2022

There's something lovely and quietly profound about where the film finds itself in the end: a generational love story that transcends old wounds…

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Review of Four Samosas (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 02 Dec 2022

Before its typically inoffensive and unmemorable finale, Four Samosas inevitably skids into a self-conscious Anderson parody that even the…

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Review of Causeway (2022)

By Mauro_Lanari (665) on 02 Dec 2022

(Mauro Lanari) How credible is Jennifer Lawrence, now a 32-year-old world star, when in 2019 she felt the need to self-produce in this movie…

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Review of Tantura (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 02 Dec 2022

Israelis call the events of 1948 The War for Independence, while Palestinians call it Nabka, or The Catastrophe…

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Review of The Eternal Daughter (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 02 Dec 2022

The Eternal Daughter feels like a first draft, or a sketch to be filled in later…

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Review of Violent Night (2022)

By Katie Rife (451) for Polygon (677) on 02 Dec 2022

The film has fun lobbing snarky one-liners and outrageous bloodshed at the audience, but on the whole, Violent Night’s big red bag of self-aware…

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Review of Leonor Will Never Die (2022)

By Katie Rife (451) for Polygon (677) on 02 Dec 2022

A sense of play and joyful collaboration permeates Leonor Will Never Die, even as it engages with serious issues of life, death, and legacy…

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Review of A Wounded Fawn (2022)

By Katie Rife (451) for RogerEbert.com (5,563) on 02 Dec 2022

The third film from writer/director Travis Stevens (“Jakob’s Wife,” “Girl on the Third Floor”) is forged in fire and blood, taking…

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Review of Bones and All (2022)

By Bertobellamy (400) on 02 Dec 2022

Bones and All' is disturbing and weird, but all the themes it tries to cover make it feel a little unfocused…

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Review of Emancipation (2022)

By Robert Daniels (336) for RogerEbert.com (5,563) on 02 Dec 2022

Emancipation becomes an exhaustive, vicious, and stylistically overcooked recounting of a man whose very visage led the abolitionist charge…

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