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Review of Speak No Evil (2022)

By Matt Donato (975) for IGN (1,013) on 15 Sep 2022

Speak No Evil is a worthwhile test of wills that’s sure to dampen anyone’s day with a superbly excruciating tale of monsters in civilian clothing…

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Review of Do Revenge (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 15 Sep 2022

Do Revenge, directed by Jennifer Kaytin Robinson, is a playful, sharp-fanged satire that feels like the ’90s teen comedy hammered into modern…

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Review of Goodnight Mommy (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 15 Sep 2022

Matt Sobel’s overhaul tones down the cruelty and eliminates the more grotesque touches, resulting in a chamber drama that never gets under the skin…

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Review of The Woman King (2022)

By Brian Lowry (913) for CNN (497) on 15 Sep 2022

Somehow, the film manages to feel like a throwback to the action movies of old while featuring people who were seldom allowed to occupy prominent…

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Review of Blonde (2022)

By Brian Lowry (913) for CNN (497) on 15 Sep 2022

Once you get past admiring de Armas’ immersion into the role, that’s the only itch that Blonde seems to know how to scratch…

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Review of All the Beauty and the Bloodshed (2022)

By David Fear (910) for Rolling Stone (4,035) on 15 Sep 2022

It entered the festival circuit as a politically charged take on the standard there-goeth-the-great-artist story and exited it as a peerless…

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Review of The Woman King (2022)

By Jim Slotek (879) for Original-Cin (1,156) on 15 Sep 2022

Complications of history aside, The Woman King is Black Panther minus the vibranium and with more women warriors, an empowerment tale fueled…

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Review of Confess, Fletch (2022)

By Jesse Hassenger (800) for Polygon (677) on 15 Sep 2022

Mottola and Hamm don’t seem like they’re trying to rewrite Hamm in Fletch’s image, or vice versa…

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Review of Clerks III (2022)

By Leslie Felperin (768) for The Guardian (2,969) on 15 Sep 2022

Like the junk food that the central characters sell in their convenience store, it’s a strangely moreish brew that you enjoy but feel faintly…

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Review of Blonde (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 15 Sep 2022

The main thing the movie misses in portraying Marilyn solely as a tragic sex bomb isn't just the pleasure that Monroe herself brought to millions,…

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Review of The Greatest Beer Run Ever (2022)

By Kate Erbland (681) for IndieWire (3,631) on 15 Sep 2022

Like “Green Book,” The Greatest Beer Run Ever is a broad historical outing based on real people and real events, condensed down into an…

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Review of The Fabelmans (2022)

By Alison Willmore (681) for New York Magazine (Vulture) (3,519) on 15 Sep 2022

The most interesting parts of this baggy, inevitably indulgent, and often spectacular work find him grappling with the idea of putting himself…

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Review of Do Revenge (2022)

By Carla Meyer (580) for San Francisco Chronicle (7,630) on 15 Sep 2022

A clever mishmash of Hitchcockian and 1980s and ’90s high school movie sensibilities, the Netflix dark comedy Do Revenge falters when it…

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Review of See How They Run (2022)

By Soren Andersen (496) for The Seattle Times (964) on 15 Sep 2022

See How They Run is the Saoirse Ronan show. Start to finish. Top to bottom, Now and forever. Amen…

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Review of Confess, Fletch (2022)

By Nicolas Rapold (488) for The New York Times (9,847) on 15 Sep 2022

Getting peeved at Mottola and Hamm’s easygoing efforts would be like getting mad at a cat for sleeping too much…

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Review of Moonage Daydream (2022)

By Steve Davis (486) for Austin Chronicle (7,653) on 15 Sep 2022

At first, you may question whether this is all some elaborate head game, but gradually the creatively unorthodox approach to pay tribute to…

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Review of Don't Worry Darling (2022)

By Cary Darling (452) for San Francisco Chronicle (7,630) on 15 Sep 2022

Sure, “Don’t Worry Darling” — whose very title reeks of paternalism and condescension of the worst order — comes from a woman’s…

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Review of Goodnight Mommy (2022)

By Michael Nordine (446) for Variety (12,700) on 15 Sep 2022

Watts, a veteran of the genre despite never quite being a scream queen, is delightfully disturbing in a role that requires her to mask her…

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Review of See How They Run (2022)

By Mark Feeney (434) for Boston Globe (6,852) on 15 Sep 2022

Whenever Ronan’s not on the screen, “See” seems to lose something. It’s no mystery why…

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Review of The Silent Twins (2022)

By Mark Feeney (434) for Boston Globe (6,852) on 15 Sep 2022

That’s the ultimate dividedness of “The Silent Twins.” What feels most fresh and true in it is, literally, imaginary, June and Jennifer’s…

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