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Review of The Alternate (2021)

By Roger Moore (6,008) for Movie Nation (3,875) on 12 Sep 2022

The Alternate has the effects and a plot that could work, but falls short in pretty much every other regard…

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Review of Barbarian (2022)

By James Berardinelli (4,524) for ReelViews (4,523) on 12 Sep 2022

For roughly two-thirds of its 100-minute running length, Barbarian is a top-notch excursion into the dark, twisty tunnels and catacombs of…

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Review of Clerks III (2022)

By James Berardinelli (4,524) for ReelViews (4,523) on 12 Sep 2022

Smith has infused this final chapter of the accidental trilogy with an odd tone…

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Review of My Policeman (2022)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 12 Sep 2022

Michael Grandage’s new film has been coolly received by some, but I found it an interestingly fragile and Rattiganesque melodrama of repression…

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Review of Empire of Light (2022)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 12 Sep 2022

Empire of Light is a sweet, heartfelt, humane movie, which doesn’t shy away from the brutality and the racism that was happening in the streets…

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Review of Clerks III (2022)

By Richard Roeper (2,737) for Chicago Sun-Times (7,580) on 12 Sep 2022

Clerks III is a darkly funny, bittersweet curtain call for some undeniably enduring characters we first met back in 1994 when Smith famously…

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Review of The Good Nurse (2022)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 12 Sep 2022

I like these actors. I just wish they were in a better movie…

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Review of My Policeman (2022)

By Peter Debruge (1,557) for Variety (12,700) on 12 Sep 2022

Alas, the older actors don’t have all that much to do (editor Chris Dickens keeping cutting back to McKee reading), but the younger trio…

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Review of Glass Onion: A Knives Out Mystery (2022)

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

The central mystery hinges on an audacious structural coup that produces a succession of giddy, breathless moments in the movie’s second…

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Review of The Fabelmans (2022)

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

Like all great storytellers, Spielberg knows the value — the beauty — of artifice and embellishment, as well as the permeability of truth…

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Review of Confess, Fletch (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 12 Sep 2022

Hamm makes plenty of sense in this role, but Mottola and Zev Borow’s screenplay doesn’t totally convince us the character is series-worthy…

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Review of My Policeman (2022)

By Katie Walsh (1,279) for TheWrap (3,203) on 12 Sep 2022

The 1990s framing device keeps pulling us out of the 1950s love story, sapping its power…

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Review of Moonage Daydream (2022)

By Jordan Hoffman (1,025) for The A.V. Club (5,644) on 12 Sep 2022

If there’s a message at all in Moonage Daydream, it is secondary to the experiential nature of the movie. That’s hardly a knock…

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Review of My Policeman (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 12 Sep 2022

Nyswaner and Grandage here let the lads get nude and sweaty, rolling around in a golden haze — lots of arched backs, hungry hands and eyes…

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Review of Athena (2022)

By Richard Brody (868) for The New Yorker (1,837) on 12 Sep 2022

Athena is a vision of political apocalypse, and it names the enemy while throwing its cinematic hands in the air, along with the camera…

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Review of Confess, Fletch (2022)

By Jason Bailey (832) for The Playlist (3,871) on 12 Sep 2022

Confess, Fletch is an absolute pleasure – the mystery is a corker, and I giggled from beginning to end…

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Review of EO (2022)

By Chuck Bowen (756) for Slant Magazine (8,298) on 12 Sep 2022

EO feels freed of plot, free of expectation, driven only by the need to honor its own internal, poetic drive…

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Review of Decision to Leave (2022)

By Chuck Bowen (756) for Slant Magazine (8,298) on 12 Sep 2022

Throughout the film, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few cases poetry wins out…

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Review of My Policeman (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 12 Sep 2022

Policeman, as emotionally earnest and elegantly made as it is, mostly feels like a movie we've seen many times before: a pleasantly escapist…

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Review of The Whale (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 12 Sep 2022

Here it often feels clumsy and maddeningly inconsistent, stranding Fraser in a melodrama undeserving of his lovely, unshowy performance…

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