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Review of Slumberland (2022)

By Tvjerry (1,783) on 29 Nov 2022

Like so many kids' adventures, this one starts with the loss of a parent…

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Review of Please Baby Please (2022)

By Liam Lacey (1,725) for Original-Cin (1,156) on 29 Nov 2022

Please Baby Please has one thing going for it: A chance to watch gifted actors do some daredevil freestyling. In moments, it’s almost enough…

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Review of The Corridors of Power (2022)

By Michael O'sullivan (1,712) for Washington Post (9,851) on 29 Nov 2022

The discussions that take place on camera, in tastefully appointed suites, are frank and often offer fascinating insights into these dilemmas…

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Review of Tantura (2022)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 29 Nov 2022

The result is both a study in historical amnesia and a kind of epistemological detective story, in which the grim truth is as hard to refute…

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Review of She Said (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 29 Nov 2022

Schrader’s sensitive, unshowy approach to the directing choices is a smart decision; this is a film that is respectful of and in service…

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Review of Lady Chatterley's Lover (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 29 Nov 2022

There’s a feverish wildness to Corrin’s performance, while O’Connell unleashes the full force of his considerable charisma…

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Review of What Do We See When We Look at the Sky? (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 29 Nov 2022

There’s a languid kind of magic to Koberidze’s approach, which, with its enchanting score, digressive montages and sparse dialogue, has…

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Review of Violent Night (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 29 Nov 2022

The picture is irreverent yet oddly touching, never especially great but often disreputable fun…

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Review of Violent Night (2022)

By Alonso Duralde (1,351) for TheWrap (3,203) on 29 Nov 2022

Violent Night is one of the Yuletide season’s most delightful surprises, not just for what it gets right but also for the many ways the whole…

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Review of Guillermo del Toro's Pinocchio (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 29 Nov 2022

Ultimately, it’s the film’s sheer strangeness – that peculiarly magical, lapsed-Catholic sensibility that runs throughout all of Del…

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Review of Violent Night (2022)

By Matt Donato (975) for IGN (1,013) on 29 Nov 2022

Violent Night might take a hot minute to find its footing and keeps plucking low-hanging wordplay sugar plums, but at full strength, nobody's…

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Review of The Noel Diary (2022)

By Lisa Kennedy (833) for The New York Times (9,847) on 29 Nov 2022

The director Charles Shyer brings a journeyman’s ease to the screenplay (based on Richard Paul Evans’s novel by the same name): embracing…

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Review of All the Beauty and the Bloodshed (2022)

By Barry Hertz (792) for The Globe and Mail (Toronto) (4,018) on 29 Nov 2022

The director wisely dives with her whole heart and soul into Goldin’s life, which makes seeing her almost destroyed by an addiction to painkillers…

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Review of Tantura (2022)

By Simon Abrams (730) for TheWrap (3,203) on 29 Nov 2022

Schwarz piles on more than enough damning interview footage to support his and Katz’s case, making Tantura a better-than-average work of…

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Review of Violent Night (2022)

By Kate Erbland (681) for IndieWire (3,631) on 29 Nov 2022

If you can vibe with that whiplash-inducing comedic opening — gallons of vomit mixed with some magical holiday sweetness — you just might…

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Review of India Sweets and Spices (2021)

By Cath Clarke (570) for The Guardian (2,969) on 29 Nov 2022

The impossibility of ever really knowing our parents is a familiar storyline, but it’s told here with real generosity and warmth…

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Review of Escape from Alcatraz (1979)

By Voodoo123 (536) on 29 Nov 2022

This slow paced prison escape drama is well shot with a talented cast and authentic setting…

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Review of "Sr." (2022)

By G. Allen Johnson (514) for San Francisco Chronicle (7,630) on 29 Nov 2022

Sr. is elegiac in tone, often moving, with moments of irreverence and humor…

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Review of Tantura (2022)

By Alissa Wilkinson (499) for Vox (725) on 29 Nov 2022

The film works on two levels: one is about the massacre; the other is about the psychology employed not only by perpetrators, but by the powerful…

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Review of Tantura (2022)

By Jonathan Romney (434) for Screen Daily (1,021) on 29 Nov 2022

Tantura makes for a fascinating, troubling watch, although it doesn’t altogether come across as rigorously objective, given rhetorical touches…

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