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Review of Halloween Ends (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 13 Oct 2022

Green has made a movie that’s less frantic and more intimate than its predecessor, one that unfolds with a mourning finality…

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Review of Till (2022)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 13 Oct 2022

Till is more understatedly effective, and Deadwyler’s performance at its most powerful, when Chukwu resists and even undermines the template…

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Review of Decision to Leave (2022)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 13 Oct 2022

A love story by turns sprawling, despairing and invigorating…

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Review of Till (2022)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 13 Oct 2022

Till is more understatedly effective, and Deadwyler’s performance at its most powerful, when Chukwu resists and even undermines the template…

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Review of Halloween Ends (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 13 Oct 2022

Jamie Lee Curtis brings a regal bearing to her performance, but the prevailing feeling is of a cinematic series that’s probably best left for dead…

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Review of The Curse of Bridge Hollow (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 13 Oct 2022

Granted, the mayhem is inflicted mostly on zombies and other Halloween decorations that have come to life courtesy of the ancient curse unleashed…

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Review of Halloween Ends (2022)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 13 Oct 2022

Halloween Ends has the feeling of dour obligation, and it’s clear that no one’s heart is really in this anymore, the limits of narrative…

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Review of The Same Storm (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 13 Oct 2022

The sum of Hedges’ film is greater than any of its parts, even if its parts are not always worthy of the people who have been hired to play…

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Review of Dark Glasses (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 13 Oct 2022

The best moments of the film involve Diana’s unsentimental alliance with Chin, the orphan who offers her more protection than she’s able…

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Review of Halloween Ends (2022)

By Brian Lowry (913) for CNN (497) on 13 Oct 2022

Forty-four years, 13 movies and innumerable corpses later, it sounds naïve to think “Halloween Ends” will really mark the end of anything,…

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Review of Halloween Ends (2022)

By David Jenkins (910) for Little White Lies (3,136) on 13 Oct 2022

It’s maybe disingenuous to say this, but the shift in tone and quality is so extreme that it feels as if Green has been let off his leash…

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Review of Decision to Leave (2022)

By David Fear (910) for Rolling Stone (4,035) on 13 Oct 2022

We expect cinematic fireworks with a stylist like [Park]…

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Review of Till (2022)

By Richard Brody (868) for The New Yorker (1,837) on 13 Oct 2022

Above all, Till is a work of mighty cinematic portraiture, with a range of closeups of Mamie that infuse the film with an overwhelming combination…

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Review of Till (2022)

By Richard Brody (868) for The New Yorker (1,837) on 13 Oct 2022

Above all, Till is a work of mighty cinematic portraiture, with a range of closeups of Mamie that infuse the film with an overwhelming combination…

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Review of Eternal Spring (長春) (2023)

By Ben Kenigsberg (863) for The New York Times (9,847) on 13 Oct 2022

While the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode…

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Review of Halloween Ends (2022)

By Jason Bailey (832) for The Playlist (3,871) on 13 Oct 2022

And the score, again by Carpenter, his son Cody Carpenter, and Daniel Davies, is another banger, often lapping the action onscreen for mood…

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Review of Armageddon Time (2022)

By Jesse Hassenger (800) for Consequence (296) on 13 Oct 2022

Gray’s many fans will probably love Armageddon Time, and it may even win over some more neutral viewers who respond to his decidedly non-nostalgic…

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Review of She Said (2022)

By Jesse Hassenger (800) for Paste Magazine (2,906) on 13 Oct 2022

Schrader pushes the somber score and just-the-facts cinematography as close to pure explication as possible…

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Review of All Quiet on the Western Front (2022)

By Barry Hertz (792) for The Globe and Mail (Toronto) (4,018) on 13 Oct 2022

This new version of an old tale has the capacity to horrify you into shell-shocked pacifism, while delivering a few minor-key surprises along the way…

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Review of Halloween Ends (2022)

By William Bibbiani (788) for TheWrap (3,203) on 13 Oct 2022

The film eventually provides some memorable gore but the ultimate conclusion is unconvincing and perfunctory…

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