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Review of The Bob's Burgers Movie (2022)

By Odie Henderson (402) for Boston Globe (6,852) on 26 May 2022

At 102 minutes, The Bob’s Burgers Movie feels more like five continuous episodes stitched together than something new that’s been abstracted…

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Review of Holy Spider (2022)

By Fionnuala Halligan (367) for Screen Daily (1,021) on 26 May 2022

Abbasi has made an Iranian noir which, even though it dares to poke around the spiritual capital of Iran with its largest mosque in the world,…

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Review of Regarding Henry (1991)

By Kai82 (336) on 26 May 2022

A unique self discovery story or heroes journey…

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Review of Moonage Daydream (2022)

By John Bleasdale (289) for CineVue (2,163) on 26 May 2022

Morgen presents a sense of Bowie as a man who is in search of himself and who, through philosophy and a bold commitment to art, finds his wisdom…

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Review of Stars at Noon (2022)

By Phil De Semlyen (265) for Time Out (7,510) on 26 May 2022

Vaguely redolent of Salvador, only slowed right down to a walking pace, or The Passenger without its seductive sense of place (and Jack Nicholson),…

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Review of Elvis (2022)

By Phil De Semlyen (265) for Time Out (7,510) on 26 May 2022

Every trick and technique here, from ingenious match cuts, to split screens and even comic-book cells, works to soup up the storytelling…

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Review of The Bob's Burgers Movie (2022)

By Clarisse Loughrey (259) for The Independent (259) on 26 May 2022

The Bob’s Burgers Movie proves that more of the same is sometimes the very best thing…

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Review of There Are No Saints (2022)

By Calum Marsh (242) for The New York Times (9,847) on 26 May 2022

The director, Ulloa, tries to mask the derivative story by embellishing the violence, cutting to closeups of flesh wounds and bullet holes…

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Review of Elvis (2022)

By Charles Bramesco (223) for The Playlist (3,871) on 26 May 2022

Luhrmann sees the chief utility of Elvis (or “Booby,” as his loved ones called him) as a pedestal for his everything-all-the-time maximalism,…

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Review of Stars at Noon (2022)

By Charles Bramesco (223) for The Playlist (3,871) on 26 May 2022

When you’re this good, the weakest entry in your filmography can still be largely inoffensive, far from fiasco territory…

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Review of Stars at Noon (2022)

By Nicholas Barber (220) for BBC (137) on 26 May 2022

Partly because the characters look so healthily pretty, and partly because the mood is so woozy, The Stars at Noon feels more like a stylish…

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Review of 18½ (2022)

By Dan Callahan (211) for TheWrap (3,203) on 26 May 2022

18 ½ attempts to be part cloak-and-dagger thriller, part romantic comedy, part screwball comedy, and part mood piece, and its plotting is…

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Review of There Are No Saints (2022)

By Dan Mecca (208) for The Film Stage (3,162) on 26 May 2022

There is something admirable about the sheer hopelessness of this narrative…

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Review of EO (2022)

By Jordan Mintzer (201) for The Hollywood Reporter (7,050) on 26 May 2022

Despite a shred of story that’s told episodically, EO, which clocks in at a concise 86 minutes, can be an engrossing experience…

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Review of Holy Spider (2022)

By Jordan Mintzer (201) for The Hollywood Reporter (7,050) on 26 May 2022

It’s far from subtle filmmaking, but Holy Spider is equal parts gripping and disturbing, and not always for the squeamish…

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Review of We Feed People (2022)

By Ross Bonaime (185) for Collider (1,032) on 26 May 2022

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief…

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Review of Blow (2001)

By Timone (161) on 26 May 2022

Well now, I see that Johnny Depp starring in another biographical film that is Donnie Brasco being the first and now he's in the movie where…

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Review of Nostalgia (2023)

By Lee Marshall (157) for Screen Daily (1,021) on 26 May 2022

Martone crafts a passionate, angry film that is full of atmosphere and great performances, but never fully convincing or compelling as a drama…

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Review of EO (2022)

By Rory O'connor (154) for The Playlist (3,871) on 26 May 2022

Eo is a joyful, experimental, and strangely moving piece of filmmaking that doesn’t always take itself seriously—yet it is nothing if not sincere…

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Review of One Fine Morning (2022)

By Rory O'connor (154) for The Film Stage (3,162) on 26 May 2022

Shot in gorgeous natural light by Denis Lenoir (the cinematographer on all but one of her films since Eden), and backed by a soundtrack of…

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