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Review of The Silent Twins (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 14 Sep 2022

The director of The Lure has a knack for peculiar protagonists — not to mention mixing whimsy with darker textures — but her latest provocation…

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Review of The Greatest Beer Run Ever (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 14 Sep 2022

Feels manipulative and glib ... Farrelly’s tendency toward simplistic bromides in Green Book is even more egregious here…

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Review of Wendell & Wild (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 14 Sep 2022

Although the film’s different realms are all imaginatively designed — as are the looks of the characters themselves — Wendell & Wild…

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Review of The Good Nurse (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 14 Sep 2022

A true-crime picture whose chilling effects are generated without a whiff of the manipulation that often comes with such films…

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Review of Clerks III (2022)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 14 Sep 2022

More of a recognition reel for a fan convention than a movie, it signals a career that’s traveled far from its first evocation of a raw seriocomic…

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Review of Causeway (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 14 Sep 2022

This could all feel schematic in lesser hands, but Neugebauer gives Lawrence and Henry the space they need to make the film’s characters…

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Review of The Greatest Beer Run Ever (2022)

By Michael Rechtshaffen (1,086) for The Hollywood Reporter (7,050) on 14 Sep 2022

Farrelly’s loftier impulses work against the material…

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Review of Wendell & Wild (2022)

By Michael Rechtshaffen (1,086) for The Hollywood Reporter (7,050) on 14 Sep 2022

For all the clever satirical touches and asides, the gorgeously intricate, wondrous stop-motion landscape is ultimately pure Selick, imbued…

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Review of The Woman King (2022)

By Jordan Hoffman (1,025) for The A.V. Club (5,644) on 14 Sep 2022

Prince-Bythewood, whose Beyond The Lights is one of the most overlooked movies of the last decade, has created a vision of historical Africa…

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Review of See How They Run (2022)

By Matt Donato (975) for IGN (1,013) on 14 Sep 2022

Tom George succeeds in telling an excitably ambiguous case within a self-deprecating whodunit satire, even when employing the easiest tricks…

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Review of Causeway (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 14 Sep 2022

It’s a small-scale film that many might call unambitious, favoring delicate observation over big emotional payoff…

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Review of No Bears (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 14 Sep 2022

Panahi’s stoical presence at the center of all this is rattled, forcing him to contemplate the repercussions of his work both to himself…

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Review of Confess, Fletch (2022)

By Kimberley Jones (866) for Austin Chronicle (7,653) on 14 Sep 2022

Genial and unbothered, Confess, Fletch never climbs higher than mere adequacy…

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Review of Goodbye, Don Glees! (2022)

By Alejandro970 (859) on 14 Sep 2022

An advantage of Japanese animated cinema is that they always have to have fresh ideas to harvest…

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Review of The Greatest Beer Run Ever (2022)

By Jason Bailey (832) for The Playlist (3,871) on 14 Sep 2022

Peter Farrelly’s “The Greatest Beer Run Ever” isn’t so much a bad movie — though it’s certainly that — as an inexplicable one,…

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Review of Wendell & Wild (2022)

By Jason Bailey (832) for The Playlist (3,871) on 14 Sep 2022

The picture clangs clumsily for stretches, particularly in its second half; Selick is trying to merge the doomy darkness of “Coraline”…

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Review of Ticket to Paradise (2022)

By Leslie Felperin (768) for The Hollywood Reporter (7,050) on 14 Sep 2022

Thinly scripted rom-com Ticket to Paradise puffs its way through 104 minutes mostly on the vapors of its lead actors gassing around together,…

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Review of The Silent Twins (2022)

By Leslie Felperin (768) for The Hollywood Reporter (7,050) on 14 Sep 2022

However intrinsically fascinating the Gibbons sisters’ story might be, Smoczynska and Seigel’s interpretation of the material feels off…

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Review of Causeway (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 14 Sep 2022

It's nice to see actors like these do such subtle, sympathetic work for a gifted young director — and to find an outlet for storytelling…

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Review of The Banshees of Inisherin (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 14 Sep 2022

To be corny, which the film is decidedly not, it's about life: the brevity of it, the risks we do or don't take, who in the end we choose to…

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