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Review of Crimes of the Future (2022)

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

It’s dazzling and uneven, seductive and flawed, and only [Cronenberg] could have made it. There’s no beating the genuine article…

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Review of Nostalgia (2023)

By Lovia Gyarkye (142) for The Hollywood Reporter (7,050) on 26 May 2022

With a formidable cast, assured direction and skillful camerawork, Nostalgia proves to be a surprisingly absorbing film…

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Review of Elvis (2022)

By Rafael Motamayor (108) for Slashfilm (971) on 26 May 2022

Elvis is the Baz Luhrmanniest film Baz Luhrmann has made yet, a compilation of his greatest filmmaking hits, all employed for a film as excessive…

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Review of Ambulance (2022)

By Jamess (104) on 26 May 2022

AmbuLAnce is perhaps the most Michael Bayist Michael Bay movie I can recall…

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Review of Stars at Noon (2022)

By Ben Croll (93) for TheWrap (3,203) on 26 May 2022

When chewing through some oddly phrased text, Qualley’s non-verbal tics offer twice the information with half the winces, making “Stars…

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Review of Nostalgia (2023)

By Elena Lazic (92) for The Playlist (3,871) on 26 May 2022

The film ends on a slightly too simplistic, almost crass note regarding that point, but it cannot take away from its overall highly sensitive…

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Review of Look at Me: XXXTENTACION (2022)

By Christian Gallichio (84) for The Playlist (3,871) on 26 May 2022

Look at Me” provides a fascinating overview of Onfroy’s meteoric rise in the music industry, while also broadly touching on the various…

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Review of The Adam Project (2022)

By Violett (59) on 26 May 2022

В принципе неплохой фильм…

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Review of Holy Spider (2022)

By David Katz (41) for The Film Stage (3,162) on 26 May 2022

Overall it seems Abbasi got caught between the social righteousness dictates of the “message movie” and pure amorality of what, disturbingly…

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Review of Nostalgia (2023)

By Leila Latif (37) for IndieWire (3,631) on 26 May 2022

As the two men circle each other in the film’s second half, it shifts from contemplative drama to full-blown suspenseful thriller…

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Review of We Feed People (2022)

By Sabina Dana Plasse (36) for Film Threat (5,156) on 26 May 2022

An on-the-scene documentary filled with interviews, action, and archival footage, We Feed People is inspiring to watch and understand how one…

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Review of EO (2022)

By Ryan Leston (31) for Slashfilm (971) on 26 May 2022

Skolimowski's close camera work and gripping story keep us alongside EO every step of the way. We're all rooting for him…

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Review of Stars at Noon (2022)

By Ryan Leston (31) for Slashfilm (971) on 26 May 2022

The end result is a slow-burn romantic thriller that's so slow it doesn't really seem to go anywhere…

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Review of Holy Spider (2022)

By Ryan Leston (31) for Slashfilm (971) on 26 May 2022

Holy Spider shines a light into the murky corners of a society that emboldens its aggressors. In that sense, the film is essential viewing…

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Review of Anek (2022)

By Phuong Le (29) for The Guardian (2,969) on 26 May 2022

The film might be didactic in tone, but it is the kind of didacticism that injects political integrity into a cinematic landscape sorely lacking…

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Review of A Taste of Whale (2022)

By Claire Shaffer (28) for The New York Times (9,847) on 26 May 2022

Provocative as it may be at first glance, A Taste of Whale, in theaters and on demand, offers a refreshingly multidimensional take on the controversy…

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Review of The Lost City (2022)

By Markini (27) on 26 May 2022

A run of the mill action comedy. The first act is the funniest and it only gets slower paced and drawn out a the movie drags on…

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Review of Fire Island (2022)

By Manuel Betancourt (27) for The Playlist (3,871) on 26 May 2022

There may be romantic closure at the end of “Fire Island” but not a sense of finality, just a vision of endless possibilities—a horizon…

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Review of Fire Island (2023)

By Manuel Betancourt (27) for The Playlist (3,871) on 26 May 2022

There may be romantic closure at the end of “Fire Island” but not a sense of finality, just a vision of endless possibilities—a horizon…

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Review of Fire Island (2023)

By Richard Scott Larson (23) for Slant Magazine (8,298) on 26 May 2022

The film is filled with a subtextual nostalgia for a fleeting youth and the urgency of figuring things out before it’s too late…

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