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Review of Armageddon Time (2022)

By Michael Phillips (2,622) for Chicago Tribune (6,211) on 04 Nov 2022

The movie has a sense of humor, but its sense of dread, micro and macro, overrules it…

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Review of Calendar Girls (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 04 Nov 2022

The documentary mixes scenes of rehearsals, interviews, and performances with dreamy, impressionistic moments, one loading a car, one in a…

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Review of Good Night Oppy (2022)

By Kyle Smith (1,916) for Wall Street Journal (3,071) on 04 Nov 2022

Once the two rovers landed, three weeks apart, problems that had never been confronted before in the history of humanity started to become…

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Review of BARDO, False Chronicle of a Handful of Truths (2022)

By Kyle Smith (1,916) for Wall Street Journal (3,071) on 04 Nov 2022

As the film floats on, drifting from one extravagantly engineered reverie to another, the filmmaker only occasionally succeeds in making the…

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Review of Dear Zoe (2022)

By Elizabeth Weitzman (1,905) for TheWrap (3,203) on 04 Nov 2022

Too much of Dear Zoe, though, feels factory-designed to engineer emotion rather than aiming to earn it organically…

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Review of Meet Me in the Bathroom (2022)

By Glenn Kenny (1,728) for The New York Times (9,847) on 04 Nov 2022

There are revealing glimpses into the early work of artists who would morph into entities that were slicker and ostensibly cooler…

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Review of Utama (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 04 Nov 2022

Utama sounds a warning even as it casts a spell, and the spell is one of life and death and eternal returns and never-ending struggles, and…

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Review of Till (2022)

By Tim Robey (1,578) for The Telegraph (1,120) on 04 Nov 2022

Deadwyler does magnificent work in it, making bold, risky choices to communicate a near-operatic range of emotion…

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Review of Till (2022)

By Tim Robey (1,578) for The Telegraph (1,120) on 04 Nov 2022

Deadwyler does magnificent work in it, making bold, risky choices to communicate a near-operatic range of emotion…

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Review of The Estate (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 04 Nov 2022

Writer-director Dean Craig gathers a winning ensemble for his dark comedy and, intermittently, the characters’ rank awfulness is a joy to…

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Review of You Resemble Me (2022)

By Robert Abele (1,309) for TheWrap (3,203) on 04 Nov 2022

Whether we read about someone like Hasna or watch such a sad journey dramatized, it’s worth being reminded that stories like these always…

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Review of The Estate (2022)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 04 Nov 2022

It’s not funny, it’s not satirical, and it’s not worth your time, or Toni Collette’s…

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Review of Till (2022)

By Katie Walsh (1,279) for St. Louis Post-Dispatch (1,715) on 04 Nov 2022

Using a variety of filmmaking techniques, Chukwu asks us to look at Deadwyler’s performance as Mamie in many different ways — to study…

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Review of Utama (2022)

By Katie Walsh (1,279) for TheWrap (3,203) on 04 Nov 2022

It is a spare and yet unsparing film, and a bold artistic statement from an emerging filmmaker…

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Review of Till (2022)

By Katie Walsh (1,279) for St. Louis Post-Dispatch (1,715) on 04 Nov 2022

Using a variety of filmmaking techniques, Chukwu asks us to look at Deadwyler’s performance as Mamie in many different ways — to study…

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Review of You Resemble Me (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 04 Nov 2022

You Resemble Me is at its strongest when it tries to humanize its misunderstood central figure in simple, intimate ways…

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Review of Causeway (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 04 Nov 2022

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances…

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Review of Next Exit (2022)

By Peter Sobczynski (1,159) for RogerEbert.com (5,563) on 04 Nov 2022

It isn’t necessarily bad, per se, and it contains just enough in the way of intriguing elements to more or less hold one’s interest for…

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Review of My Father's Dragon (2022)

By Donald Clarke (1,051) for The Irish Times (483) on 04 Nov 2022

In some ways it is Cartoon Saloon’s most “normal” film, but, stuffed with visual elan and powered by good nature, it confirms the studio’s…

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Review of Selena Gomez: My Mind & Me (2022)

By Brian Lowry (913) for CNN (497) on 04 Nov 2022

Opening up about her bipolar disorder is surely a service, but the six-year span encompassed by this intimate Apple TV+ presentation labors…

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