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Review of Blonde (2022)

By Mick Lasalle (3,303) for San Francisco Chronicle (7,630) on 26 Sep 2022

Ana de Armas is inspired and flawless as Marilyn Monroe, and yet “Blonde” is a total bomb…

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Review of Blonde (2022)

By Richard Roeper (2,737) for Chicago Sun-Times (7,580) on 26 Sep 2022

It’s a memorable performance in a film that wants to dazzle us with its trick bag of visuals but is rotten at its core…

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Review of Three Minutes: A Lengthening (2022)

By Peter Rainer (2,575) for Christian Science Monitor (3,788) on 26 Sep 2022

The film medium has often been discussed in academic terms as a vehicle to contain the passage of time…

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Review of On the Come Up (2022)

By Stephanie Zacharek (2,333) for Time (1,811) on 26 Sep 2022

On the Come Up is a thoughtful and generous-spirited entertainment, and a reminder of how hard it can be, when you’re young, to figure out…

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Review of Eternal Spring (長春) (2023)

By Liam Lacey (1,725) for Original-Cin (1,156) on 26 Sep 2022

Though the emotional appeal of this story of resistance to brutal repression is genuinely moving, the documentary has limitations in both style…

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Review of Catherine Called Birdy (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

Whis is a teen comedy with a refreshingly forthright approach to everything from puberty to the status of 13th-century women as chattels to…

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Review of Don't Worry Darling (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

The problem is that Wilde leans too heavily on surface and style, as a distraction from the fact that the story itself is riddled with inconsistencies…

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Review of After Yang (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

I’m not convinced that the picture carries quite the philosophical weight that it thinks it does…

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Review of Mona Lisa and the Blood Moon (2022)

By Luke Y. Thompson (1,447) for The A.V. Club (5,644) on 26 Sep 2022

It’s less a story of the supernatural than one about a party on the wrong side of town, with hints of danger, interesting strangers to meet,…

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Review of Blonde (2022)

By Donald Clarke (1,051) for The Irish Times (483) on 26 Sep 2022

Nobody could deny that Dominik layers sympathy on Monroe, but the reduction of her life to a catalogue of torments betrays the complicated,…

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Review of Blonde (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 26 Sep 2022

At its heart this is a gothic melodrama, a fever dream of childhood trauma haunting adult life, replete with skin-crawlingly cruel visions…

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Review of The Cathedral (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 26 Sep 2022

D’Ambrose’s drama is attuned to how much sensitive kids keep inside, watching and holding their breath while the adults convince themselves…

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Review of The Cathedral (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 26 Sep 2022

D’Ambrose’s drama is attuned to how much sensitive kids keep inside, watching and holding their breath while the adults convince themselves…

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Review of Catherine Called Birdy (2022)

By David Fear (910) for Rolling Stone (4,035) on 26 Sep 2022

So much of what makes Catherine Called Birdy sing comes down to Dunham and Ramsey working in conjunction to give you a portrait of a 13th-century…

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Review of Confess, Fletch (2022)

By David Fear (910) for Rolling Stone (4,035) on 26 Sep 2022

It’s a delightful throwback to an age when a comic mystery fueled by someone with a screen-friendly persona and even screen-friendlier good…

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Review of Don't Worry Darling (2022)

By Richard Brody (868) for The New Yorker (1,837) on 26 Sep 2022

The film’s self-undercutting subtleties and its big dramatic reveal serve a greater purpose: its depiction of oppression in an out-of-whack,…

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Review of The Swearing Jar (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 26 Sep 2022

To say The Swearing Jar is an uplifting film without a clarifier such as “bittersweet” is perhaps a tough sell, but that’s exactly what it is…

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Review of After Yang (2022)

By Tara Brady (805) for The Irish Times (483) on 26 Sep 2022

Colin Farrell’s central turn, a lovely, soulful study of melancholy, is one of his best performances to date…

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Review of Smile (2022)

By Tasha Robinson (753) for Polygon (677) on 26 Sep 2022

No matter how excessively the legitimate scares pile up, they’re startling and convincing…

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Review of Smile (2022)

By Tasha Robinson (753) for Polygon (677) on 26 Sep 2022

No matter how excessively the legitimate scares pile up, they’re startling and convincing…

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