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Review of Hunted (2022)

By Roger Moore (6,008) for Movie Nation (3,875) on 28 Oct 2022

This Tommy Boulding tale is depressingly straightforward and generally lacks the urgency of people being chased to death and the menace of…

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Review of Till (2022)

By Peter Travers (3,602) for ABC News (186) on 28 Oct 2022

Danielle Deadwyler gives the breakout performance of the year as an activist mother who used the 1955 lynching of her son Emmett Till (Jalyn…

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Review of Till (2022)

By Peter Travers (3,602) for ABC News (186) on 28 Oct 2022

Danielle Deadwyler gives the breakout performance of the year as an activist mother who used the 1955 lynching of her son Emmett Till (Jalyn…

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Review of Armageddon Time (2022)

By Peter Rainer (2,575) for Christian Science Monitor (3,788) on 28 Oct 2022

If Armageddon Time simply recounted Paul’s coming-of-age, complete with a hefty serving of family spats, it wouldn’t have the resonance…

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Review of Armageddon Time (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 28 Oct 2022

As in another autobiographical memory movie about schoolboys, Louis Malle’s “Au Revoir Les Enfants,” Armageddon Time is the story of…

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Review of Silent River (2022)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

Lee structures the film like a mystery, which gives it a sharp hook in the early going but leads to an inevitable letdown in the final stretch…

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Review of The Lair (2022)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

The Lair doesn’t finish as spectacularly as it starts; but that just means it’s a good genre picture and not a great one…

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Review of Wendell & Wild (2022)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

As offbeat and personal as the director’s best…

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Review of Run Sweetheart Run (2020)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

Feste handles the action and horror in Run Sweetheart Run well; and for those who can handle its more preposterous twists there are trashy…

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Review of Louis Armstrong's Black & Blues (2022)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

“Black & Blues” isn’t a straightforward biography so much as a collection of engaging anecdotes and keen observations, meant to spark…

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Review of Hunted (2022)

By Noel Murray (1,901) for Los Angeles Times (12,977) on 28 Oct 2022

Director Tommy Boulding and screenwriters Ray Bogdanovich and Dean Lines do deliver a lean, effective action film, with lots of shooting, stabbing…

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Review of Call Jane (2022)

By Liam Lacey (1,725) for Original-Cin (1,156) on 28 Oct 2022

The film loses momentum as it settles into movie-of-the-week familiarity, detailing the activities of the Jane collective, some of which seem…

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Review of Louis Armstrong's Black & Blues (2022)

By Liam Lacey (1,725) for Original-Cin (1,156) on 28 Oct 2022

Most of the participants who knew Armstrong are dead and there’s something melancholy about realizing that the human being behind that voice…

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Review of Is That Black Enough for You?!? (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 28 Oct 2022

Mitchell makes a very solid case that the Black cinema of the ‘70s was just as formative and influential as the white auteurs who so commonly…

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Review of Run Sweetheart Run (2020)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 28 Oct 2022

It’s ultimately one of those pieces that waffles in tone a bit too much—trying to be a few too many movies at once will do that—and almost…

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Review of The Lair (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 28 Oct 2022

Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback…

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Review of Please Baby Please (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 28 Oct 2022

While it’s drenched in style and features performances from an eclectic cast of actors who are deeply committed to the bit, and its expressions…

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Review of My Father's Dragon (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 28 Oct 2022

If this weren’t a Cartoon Saloon movie, it would probably fall apart long before Meg LeFauve’s screenplay arrives at its touching finale,…

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Review of Louis Armstrong's Black & Blues (2022)

By Joshua Rothkopf (1,058) for Entertainment Weekly (6,953) on 28 Oct 2022

A global celebrity during America's earliest conversations about civil rights, Armstrong preferred to keep his dissatisfactions to himself,…

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Review of Bros (2022)

By Donald Clarke (1,051) for The Irish Times (483) on 28 Oct 2022

The two lead actors are strong. The conversations around the museum amusingly tease out tensions between factions in the LGBT community…

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