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Review of Emergency (2022)

By James Berardinelli (4,524) for ReelViews (4,523) on 26 May 2022

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road…

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Review of Stars at Noon (2022)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 26 May 2022

This film touches on her keynote themes of sexuality and colonialism, in its 21st-century manifestation, though maybe the romantic passion…

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Review of Holy Spider (2022)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 26 May 2022

Abbasi undoubtedly conveys the brutal attitudes which create victimhood…

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Review of Nostalgia (2023)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 26 May 2022

Mario Martone’s beautifully shot and superbly composed film teeters on the edge of something special…

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Review of Elvis (2022)

By Stephanie Zacharek (2,333) for Time (1,811) on 26 May 2022

Luhrmann and his co-writers Sam Bromell and Craig Pearce use the story of Elvis’ supremely crooked manager, Colonel Tom Parker (Tom Hanks,…

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Review of RRR (2022)

By Jluis_001 (2,242) on 26 May 2022

How much should you celebrate the excess when you start to feel the effects of exhaustion even in the heat of the event…

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Review of Deception (2022)

By Jluis_001 (2,242) on 26 May 2022

If you can get past the tedium of its botched intellectual stink and the wasted performance of its lead actors, you might be able to salvage…

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Review of Deception (2022)

By Jluis_001 (2,242) on 26 May 2022

If you can get past the tedium of its botched intellectual stink and the wasted performance of its lead actors, you might be able to salvage…

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Review of Top Gun: Maverick (2022)

By A.o. Scott (2,100) for The New York Times (9,847) on 26 May 2022

Though you may hear otherwise, Top Gun: Maverick is not a great movie. It is a thin, over-strenuous and sometimes very enjoyable movie…

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Review of A Chiara (2021)

By A.o. Scott (2,100) for The New York Times (9,847) on 26 May 2022

You feel the weight of Chiara’s dilemma, the cost of the knowledge she demands, and the heroism of her willingness to pay it…

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Review of The Bob's Burgers Movie (2022)

By Glenn Kenny (1,728) for The New York Times (9,847) on 26 May 2022

The Bob’s Burgers Movie, directed by Bouchard and Bernard Derriman, is such a breezy, engaging picture that it qualifies as a summer refreshment…

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Review of Stars at Noon (2022)

By Robbie Collin (1,612) for The Telegraph (1,120) on 26 May 2022

Stars at Noon is at its best when it has Trish and Daniel suspended in horny limbo, with Denis building an atmosphere of sultry languor that…

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Review of Holy Spider (2022)

By Tim Robey (1,578) for The Telegraph (1,120) on 26 May 2022

It’s profoundly compelling, expertly made, and quite intentionally horrifying…

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Review of EO (2022)

By Peter Debruge (1,557) for Variety (12,700) on 26 May 2022

EO is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy,…

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Review of Top Gun: Maverick (2022)

By Dana Stevens (1,435) for Slate (2,081) on 26 May 2022

Even if you don’t harbor fond feelings for the 1986 Top Gun, a movie that upon its release was seen by many as a glamorized recruitment commercial…

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Review of 18½ (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 26 May 2022

18 1/2 — with a title aimed at fans of both Rose Mary Woods and Federico Fellini— then proceeds to go off the comedic rails…

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Review of Top Gun: Maverick (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 26 May 2022

Top Gun: Maverick is not a dislikable movie, by any means: The cast is charming, the military stuff is convincing, the action sequences are,…

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Review of We Feed People (2022)

By John Anderson (1,358) for Wall Street Journal (3,071) on 26 May 2022

Alternately inspiring and dismaying—why is the large, affable Mr. Andrés filling this global vacuum of governmental response…

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Review of A Chiara (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 26 May 2022

What’s best about A Chiara is its totality of naturalism and subjectivity — how it humanely complicates a teenager’s newfound self-possession,…

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Review of A Chiara (2021)

By Katie Walsh (1,279) for TheWrap (3,203) on 26 May 2022

Carpignano once again uses a tight, intimate character focus to take a wider look at larger political and cultural issues in this region…

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