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Review of Run Sweetheart Run (2020)

By Matt Donato (975) for Slashfilm (971) on 27 Oct 2022

Run Sweetheart Run is a passionate Los Angeles marathon that severs heads, scolds abusive norms, and gets loud about the ways society needs…

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Review of The Good Nurse (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 27 Oct 2022

In the judgment of the film, Cullen is just a side effect of an institutional cancer…

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Review of Call Jane (2022)

By Brian Lowry (913) for CNN (497) on 27 Oct 2022

Call Jane is a good example of how a few questionable choices can muddle an otherwise-powerful story, with the recent HBO documentary version…

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Review of Wendell & Wild (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 27 Oct 2022

There’s a tug-of-war between plot and characters that always seems won by the former to the latter’s detriment…

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Review of All Quiet on the Western Front (2022)

By Ben Kenigsberg (863) for The New York Times (9,847) on 27 Oct 2022

Berger has more tools at his disposal than Milestone did with the challenges of the early sound era, yet those advantages somehow make this…

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

By Lisa Kennedy (833) for The New York Times (9,847) on 27 Oct 2022

The film is a trove of Armstrong’s love of music and his labor…

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

By Leslie Felperin (768) for The Guardian (2,969) on 27 Oct 2022

Luxuriating in a wealth of archival material that encompasses radio and TV interviews, privately recorded conversations from reel-to-reel tapes…

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Review of Enola Holmes 2 (2022)

By Kate Erbland (681) for IndieWire (3,631) on 27 Oct 2022

The film reunites most of the principal cast and crew of director Harry Bradbeer’s 2020 Netflix feature, “Enola Holmes,” and while that…

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Review of Run Sweetheart Run (2020)

By Kate Erbland (681) for IndieWire (3,631) on 27 Oct 2022

Shana Feste’s initially grounded “Run Sweetheart Run” takes the concept of a “bad date” and runs with it to wild extremes, unfurling…

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Review of Emily the Criminal (2022)

By Mauro_Lanari (665) on 27 Oct 2022

(Mauro Lanari) What would be the reason for the enthusiasm for this directorial debut, which for most of the time disguises itself as a French…

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

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 27 Oct 2022

If Black & Blues returns to the same melody a few too many times, it doesn't diminish the overall achievement, which feels free in a way that…

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Review of The Mummy (1999)

By Voodoo123 (536) on 27 Oct 2022

The superb cinematography, talented cast, memorable soundtrack and intelligent screenplay breathed new life into the once aged franchise…

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Review of Call Jane (2022)

By Jake Coyle (526) for The Associated Press (882) on 27 Oct 2022

Call Jane distinguishes itself as a stirring portrait of the birth of an unlikely abortion-rights activist…

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Review of Till (2022)

By Soren Andersen (496) for The Seattle Times (964) on 27 Oct 2022

Under Chukwu’s steady, sensitive direction, Deadwyler’s performance is such that it overshadows everyone else in the movie…

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Review of Till (2022)

By Soren Andersen (496) for The Seattle Times (964) on 27 Oct 2022

Under Chukwu’s steady, sensitive direction, Deadwyler’s performance is such that it overshadows everyone else in the movie…

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Review of Run Sweetheart Run (2020)

By Benjamin Lee (469) for The Guardian (2,969) on 27 Oct 2022

It’s difficult to fault a film for being over-ambitious given the low-effort nature of so many genre films but the sheer, two-joints-in bizarreness…

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

By Mark Feeney (434) for Boston Globe (6,852) on 27 Oct 2022

Jenkins has given the documentary a structure that’s largely chronological but primarily thematic…

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Review of Armageddon Time (2022)

By Lindsey Bahr (430) for The Associated Press (882) on 27 Oct 2022

Gray does a wonderful job painting a portrait of a moment of cultural upheaval through these two boys, their opportunities, their support systems…

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Review of Wendell & Wild (2022)

By Odie Henderson (402) for Boston Globe (6,852) on 27 Oct 2022

Fans of “Key & Peele” will love their latest duet…

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Review of Aftersun (2022)

By Odie Henderson (402) for Boston Globe (6,852) on 27 Oct 2022

Lemmons’s film is an exercise in memory disguised as Southern gothic…

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Page 1,174 of 258,691

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