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Review of The Matrix Resurrections (2021)

By Mr_Drachmann (1) on 12 Feb 2022

There is simply no excuse for the sloppy, lazy debacle, that is Matrix Resurrections…

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Review of Marry Me (2022)

By James Berardinelli (4,524) for ReelViews (4,523) on 11 Feb 2022

Marry Me isn’t good enough to transcend the limitations of the genre but it’s a passably enjoyable throwback to the heyday of rom-coms…

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Review of Marry Me (2022)

By Peter Travers (3,602) for ABC News (186) on 11 Feb 2022

It’s shameless fluff wrapped in a blanket of bland…

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Review of Death on the Nile (2022)

By Peter Travers (3,602) for ABC News (186) on 11 Feb 2022

Even a lackluster script and dodgy computer effects can’t screw up the retro bliss doled out by director and star Kenneth Branagh as he sets…

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Review of Marry Me (2022)

By Mick Lasalle (3,303) for San Francisco Chronicle (7,630) on 11 Feb 2022

Marry Me is entirely Lopez’s movie, and she’s terrific, right there emotionally in some difficult scenes…

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Review of Marry Me (2022)

By Nell Minow (2,357) for RogerEbert.com (5,563) on 11 Feb 2022

Yes, the script might as well have been written by an algorithm to hit every rom-com beat, from the meet-cute to the magical connection to…

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Review of Kimi (2022)

By Tvjerry (1,783) on 11 Feb 2022

Kimi is a fictional version of Alexa and Zoë Kravitz plays a tech worker whose job is to listen to errors from the app and correct them…

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Review of Blacklight (2022)

By Glenn Kenny (1,728) for RogerEbert.com (5,563) on 11 Feb 2022

Another season, another “Liam Neeson Has Skills” movie…

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Review of Flee (2021)

By Robbie Collin (1,612) for The Telegraph (1,120) on 11 Feb 2022

This is a film which simply wouldn’t have worked in any medium but animation: in an hour and a half we come to know Amin intimately without…

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Review of Bigbug (2022)

By Peter Debruge (1,557) for Variety (12,700) on 11 Feb 2022

The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future…

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Review of Bigbug (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 11 Feb 2022

Despite some snappy ideas (an aggressive advertising drone pushing products as answers to the family’s every problem), Bigbug is overdressed,…

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Review of I Want You Back (2022)

By Dana Stevens (1,435) for Slate (2,081) on 11 Feb 2022

I Want You Back is a sometimes underwhelming vehicle for Day and Slate’s considerable comic talents, but it’s a pleasure to spend two hours…

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Review of Marry Me (2022)

By Dana Stevens (1,435) for Slate (2,081) on 11 Feb 2022

The fact that Marry Me contains anything so formulaic as a third-act separation montage should spell out clearly what you’re getting in for…

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Review of Death on the Nile (2022)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 11 Feb 2022

The glittering cast of Death on the Nile is all dressed up but, alas, they have nowhere to go…

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Review of Bigbug (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 11 Feb 2022

Save for dashes of Jeunet’s bespoke visual flair and an enthusiastic cast of actors whose go-for-broke performances scream for stronger material,…

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Review of Death on the Nile (2022)

By Donald Clarke (1,051) for The Irish Times (483) on 11 Feb 2022

Death on the Nile remains the sort of harmlessly enjoyable entertainment they used to make when … well, way back when they made this film…

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Review of Blacklight (2022)

By Bilge Ebiri (1,050) for New York Magazine (Vulture) (3,519) on 11 Feb 2022

Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but…

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Review of Death on the Nile (2022)

By Bilge Ebiri (1,050) for New York Magazine (Vulture) (3,519) on 11 Feb 2022

When given the freedom, he can be one of the most overheated of directors, but the excess rarely feels cynical or cheap…

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Review of Slapface (2022)

By Matt Donato (975) for Paste Magazine (2,906) on 11 Feb 2022

Writer/director Kipp expands his short into a feature that at times struggles to elongate an otherwise poignant message, leaving other worldbuilding…

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Review of The Sky Is Everywhere (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Feb 2022

The Sky Is Everywhere is a movie of inner vision, of fantasy and symbol, that coexists with the drama even when it doesn’t quite coalesce with it…

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