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Review of Smile (2023)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 29 Sep 2022

A relentlessly somber, precision-tooled picture whose frights only reinforce the wit of its premise, Smile turns our most recognizable sign…

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Review of Smile (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 29 Sep 2022

A relentlessly somber, precision-tooled picture whose frights only reinforce the wit of its premise, Smile turns our most recognizable sign…

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Review of SMILE (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 29 Sep 2022

A relentlessly somber, precision-tooled picture whose frights only reinforce the wit of its premise, Smile turns our most recognizable sign…

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Review of Bros (2022)

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

That it succeeds as well as it does can be chalked up to a lot of different things, including the pleasures of Provincetown in the fall, the…

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Review of Blonde (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 29 Sep 2022

At two hours and 47 minutes, Andrew Dominik’s pseudo-biography is one long slog into sadness and more-than-predictable tragedy, despite a…

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Review of The Greatest Beer Run Ever (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 29 Sep 2022

The Greatest Beer Run Ever is far too interested in having a good time to get too heavy about a bygone American argument, but there are truths…

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Review of The Greatest Beer Run Ever (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Though the messaging is a bit flat-footed, it’s nonetheless effective, and clearly deeply felt, and it brings a sense of significance to…

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Review of Smile (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Smile (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Smile (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Smile (2021)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Smile (2023)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Smile (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

Read Review

Review of SMILE (2022)

By Katie Walsh (1,279) for The Seattle Times (964) on 29 Sep 2022

Bacon’s performance as well as Finn’s detailed craft manage to hold tension, and the audience’s attention, for the hour and 55 minute…

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Review of Vesper (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 29 Sep 2022

By the time this highly evocative work of low-budget sci-fi arrives at its eye-opening final scene, the clearest takeaway is that our only…

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Review of The Munsters (2022)

By Imthenoob (1,101) on 29 Sep 2022

Zombie's love letter to the classic TV show is an incoherent mess of a story that lacks any kind of proper narrative or structure…

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Review of Mona Lisa and the Blood Moon (2022)

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

Mona Lisa and the Blood Moon sizzles like a heated cajun fairytale that tells humanity how it is, brimming with Amirpour's distinctly creative…

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Review of What We Leave Behind (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 29 Sep 2022

Inviting us to sit a while in this world of tradition, What We Leave Behind offers a vision of a good death as well as one of a good life…

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Review of Bros (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 29 Sep 2022

Bros is hyper-conscious that it’s a landmark built on a fault line…

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Review of Hocus Pocus 2 (2022)

By Brian Lowry (913) for CNN (497) on 29 Sep 2022

What makes this Hocus Pocus gel is the nifty mix of old and new, replicating the basic template from the original while introducing a new and…

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Page 1,313 of 258,691

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