Browse Movie Reviews - Page 1,396 of 258,691

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Review of Catherine Called Birdy (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 13 Sep 2022

Dunham has made a really attractive and cohesive film, merging her modern, punky sensibilities with the dirt-and-stone drear of the time period…

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Review of The Banshees of Inisherin (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 13 Sep 2022

Banshees, reuniting Brendan Gleeson and Colin Farrell from “In Bruges,” is a scream from start to finish-erin…

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Review of The Woman King (2022)

By Katie Rife (451) for Polygon (677) on 13 Sep 2022

This film has a fire in its belly…

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Review of The Whale (2022)

By Katie Rife (451) for Polygon (677) on 13 Sep 2022

In The Whale, Aronofsky posits his sadism as an intellectual experiment, challenging viewers to find the humanity buried under Charlie’s…

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Review of The Woman King (2022)

By Mae Abdulbaki (411) for Screen Rant (892) on 13 Sep 2022

Minor hiccups aside, The Woman King is a blockbuster with a lot of heart and a clear story that is tightly written; it’s well worth the watch…

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Review of Catherine Called Birdy (2022)

By Mae Abdulbaki (411) for Screen Rant (892) on 13 Sep 2022

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting…

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Review of The Menu (2022)

By Mae Abdulbaki (411) for Screen Rant (892) on 13 Sep 2022

Audiences may not have much of an appetite after watching the film, but the experience, like Slowik’s promise to his own guests, will be…

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Review of Barbarian (2022)

By Royalguy07 (396) on 13 Sep 2022

Extremely tense and unsettling at moments, well earned and decisive tonal shifts throughout…

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Review of Empire of Light (2022)

By Fionnuala Halligan (367) for Screen Daily (1,021) on 13 Sep 2022

Empire Of Light is a sentimental film – the piano-heavy score from Trent Reznor and Atticus Ross advertises that from the opening bars –…

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Review of Medieval (2022)

By Jacob Oller (247) for Paste Magazine (2,906) on 13 Sep 2022

Medieval’s best quality is that it might make you do your reading, but as a film about Jan Žižka and his exciting, catalytic moment in…

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Review of The Retaliators (2022)

By Mark Keizer (225) for The A.V. Club (5,644) on 13 Sep 2022

The film teases us with hat-tips and in-jokes and then pushes them aside to become an ungainly horror mashup that works in pieces, most notably…

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Review of Disobedience (2018)

By Netflic (224) on 13 Sep 2022

This is not a good movie. Making it politically correct does not improve its quality. At best it is mediocre…

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Review of Breaking (2022)

By Unclewillard (169) on 13 Sep 2022

John Q rip-off with a far less talented lead. I just don't think Boyega is a good actor…

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Review of Citizen Kane (1941)

By Onlyclassicvg1 (154) on 13 Sep 2022

It's a visual feast, from the moody, horror-flick style opening which hovers over the gates of man-made mountain Xanadu, to the opera-house…

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Review of The Retaliators (2022)

By Martyn Conterio (121) for CineVue (2,163) on 13 Sep 2022

Written by first-time screenwriters Darren and Jeff Allen Geare, The Retaliators deserves praise for its storytelling and plotting…

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Review of Clerks III (2022)

By Natalia Keogan (119) for Paste Magazine (2,906) on 13 Sep 2022

Clerks III is far from a perfect film…

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Review of The Fabelmans (2022)

By Rafael Motamayor (108) for IGN (1,013) on 13 Sep 2022

With a coming-of-age story that is universal in its portrayal of misunderstood artists and broken homes, but hyper-specific in its portrayal…

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Review of How to Blow Up a Pipeline (2023)

By Chase Hutchinson (96) for Collider (1,032) on 13 Sep 2022

With its strong character work that gets interwoven with a striking story of sabotage, How to Blow Up a Pipeline is a riveting tapestry of…

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Review of Sanctuary (2023)

By Chase Hutchinson (96) for Collider (1,032) on 13 Sep 2022

It is a character study that creeps up on you, deploying well-timed darker comedic moments that set up the cutting dramatic ones all the better…

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Review of The Whale (2022)

By Sarah Kurchak (64) for Consequence (296) on 13 Sep 2022

The direction suffers because Aronofsky is so enthralled with the grotesque potential of the body at the heart of his film that he’s often…

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