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Review of The Bob's Burgers Movie (2022)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 26 May 2022

The antics are wacky, the jokes are dense, and “The Bob’s Burgers Movie” is both nail-bitingly tense and genuinely moving…

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Review of Stars at Noon (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 26 May 2022

Denis, Andrew Litvack, and Léa Mysius’ dialogue is only strengthened by its occasional awkwardness, as it subsumes Trish and Daniel into…

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Review of Holy Spider (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 26 May 2022

If the first half of the film shies away from the cheap thrills of its serial killer story, the pointed banality of its final chapters proves…

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Review of A Taste of Whale (2022)

By Dennis Harvey (1,137) for Variety (12,700) on 26 May 2022

This solid both-sides-now overview also raises wider questions regarding humanity’s sometimes-hypocritical ethics toward what we eat, where…

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Review of Zero Contact (2022)

By Dennis Harvey (1,137) for Variety (12,700) on 26 May 2022

Just when you think this nothing-burger can’t get any more exasperating, it spends a full 10 post-fadeout minutes on final credits…

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Review of The Bob's Burgers Movie (2022)

By Matt Donato (975) for Paste Magazine (2,906) on 26 May 2022

The Bob’s Burgers Movie is a family recipe that warms the heart, griddle and soul…

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Review of Zero Contact (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 26 May 2022

There’s a vicarious pleasure to be found in watching Hopkins, the octogenarian actor, getting the hang of technology that allows him to film…

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Review of Stars at Noon (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 26 May 2022

There’s almost always something interesting about even Denis’ flawed films, but this troubled travelogue just feels a little off at every…

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Review of We Feed People (2022)

By Joe Leydon (915) for Variety (12,700) on 26 May 2022

[A] technically polished and emotionally stirring close-up view of celebrity chef José Andrés and his nonprofit World Central Kitchen…

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Review of Top Gun: Maverick (2022)

By Richard Brody (868) for The New Yorker (1,837) on 26 May 2022

What’s most impressive about Top Gun: Maverick is its speed—not the speed of the planes in flight but the speed with which the movie dashes…

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Review of Shepherd (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 26 May 2022

Ratcheting up the conflict and confusion becomes counter-intuitive, the escalation of violence and brutality arriving without clear motive…

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Review of Stars at Noon (2022)

By Guy Lodge (731) for Variety (12,700) on 26 May 2022

Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls…

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Review of Nostalgia (2023)

By Guy Lodge (731) for Variety (12,700) on 26 May 2022

Even in its more generic stretches, Martone’s latest feels both inviting and convincingly inhabited, a siren song to the past that confronts…

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Review of Pelé (2021)

By Mauro_Lanari (665) on 26 May 2022

(Mauro Lanari) Kevin Macdonald debuted as a documentary filmmaker and to some extent returns to his own roots by producing this biopic on Pelé…

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Review of We Feed People (2022)

By Glenn Whipp (553) for Los Angeles Times (12,977) on 26 May 2022

It’s easy to give in to despair. What We Feed People makes clear is that you can help with a simple, small act of empathy…

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Review of Falling Down (1993)

By Voodoo123 (536) on 26 May 2022

Surprisingly astute social commentary randomly mixed into an action thriller film…

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Review of Wild Things (1998)

By Voodoo123 (536) on 26 May 2022

Entertaining, sexy, bull murray and a great mystery come together in this drama with an excellent cast and fascinating screenplay…

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Review of Holy Spider (2022)

By Jessica Kiang (522) for Variety (12,700) on 26 May 2022

Before a final act dealing with the fascinating social fallout once Saeed’s crimes are known and he becomes, in some quarters including his…

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Review of EO (2022)

By Jonathan Romney (434) for Screen Daily (1,021) on 26 May 2022

A potent emotional charge, very contemporary eco-consciousness, and film-making that at its best fairly sizzles in its strangeness mark out…

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Review of Stars at Noon (2022)

By Jonathan Romney (434) for Screen Daily (1,021) on 26 May 2022

The result – something like a female-fronted version of Antonioni’s The Passenger - isn’t likely to entirely satisfy anyone in either…

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