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Review of The Summoned (2022)

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

Shady lunatics are stuck in a lavish woodsy manor where they’re encouraged to explore their repressed issues to their most destructive ends…

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Review of Hustle (2022)

By David Fear (910) for Rolling Stone (4,035) on 14 Jun 2022

It’s a surprisingly good sports movie that wants little more than to be a surprisingly good sports movie, one that knows it’s working with…

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Review of The Phantom of the Open (2022)

By Jim Slotek (879) for Original-Cin (1,156) on 14 Jun 2022

The odd golfball-centric bit of whimsy aside, The Phantom of the Open is straight-ahead storytelling (complete with a pat family crisis that…

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Review of Hustle (2022)

By Richard Brody (868) for The New Yorker (1,837) on 14 Jun 2022

Though with little in the way of directorial originality, character development, or social perspective to recommend it, “Hustle” manages…

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Review of All My Friends Hate Me (2022)

By Tara Brady (805) for The Irish Times (483) on 14 Jun 2022

At its best, All My Friends shares DNA with both the social dread of Ruben Östlund’s get-togethers and the leylines of Ben Wheatley…

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Review of Swan Song (2021)

By Tara Brady (805) for The Irish Times (483) on 14 Jun 2022

Inspired by a real-life Sandusky, Ohio legend, writer-director Todd Stephens crafts an impeccable odyssey that ponders love, loss, and attitudinal…

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Review of Lightyear (2022)

By Barry Hertz (792) for The Globe and Mail (Toronto) (4,018) on 14 Jun 2022

If you can divorce Lightyear’s shareholder-appeasing origins from its actual cinematic accomplishments, then we’re left with a rather beautiful,…

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Review of Mad God (2021)

By Leslie Felperin (768) for The Guardian (2,969) on 14 Jun 2022

This is undoubtedly a work of historic significance, made by a master in his field – but beware that it often feels like a film-making notebook,…

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Review of Mad God (2021)

By Simon Abrams (730) for RogerEbert.com (5,563) on 14 Jun 2022

Imagine, if you will, a dystopian nightmare set in a post-industrialized world that’s forever teetering on its last legs, but never quite…

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Review of Jurassic World Dominion (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

Ninety minutes of footage like this, minus any characters or plot at all, probably would've resulted in an artistically better use of a couple…

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Review of Relative (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

By the time the film eases into its final stretch, it becomes a sub-genre of drama that I call accidental radio, meaning that even though there…

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Review of Relative (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 14 Jun 2022

By the time the film eases into its final stretch, it becomes a sub-genre of drama that I call accidental radio, meaning that even though there…

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Review of Cha Cha Real Smooth (2022)

By Richard Whittaker (567) for Austin Chronicle (7,653) on 14 Jun 2022

If Raiff's first film was about two neurotic characters learning to get out of their own heads, then Cha Cha Real Smooth is a tenderly bittersweet…

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Review of Jurassic World Dominion (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 14 Jun 2022

Nobody is good in this thing…

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Review of Don't Make Me Go (2022)

By Michael Nordine (446) for Variety (12,700) on 14 Jun 2022

The movie’s ending is misguided to the point of being perplexing rather than upsetting, recasting everything that came before it in a less…

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Review of Hustle (2022)

By Mark Feeney (434) for Boston Globe (6,852) on 14 Jun 2022

This is a movie that’s definitely got game. But what’s richest and best about Hustle is how, yes, it’s a character study…

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Review of Lightyear (2022)

By Mark Feeney (434) for Boston Globe (6,852) on 14 Jun 2022

Lightyear overcomes gravity of the physical sort. That’s what Space Command specializes in. It has a harder time with the emotional kind…

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Review of Little Women (2019)

By Gracjanski (417) on 14 Jun 2022

Almost nothing happens and they characters are talking so much about nothing. After the 1st half I had enough and stopped to watch it…

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Review of I'm Charlie Walker (2022)

By Odie Henderson (402) for RogerEbert.com (5,563) on 14 Jun 2022

Not since Morgan Freeman’s Joe Clark in “Lean on Me” has a real-life person’s ass been kissed more by a movie…

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Review of Lightyear (2022)

By Kaleem Aftab (340) for Time Out (7,510) on 14 Jun 2022

For Pixar, which must surely have a Woody western in mind, it’s a wake-up call…

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