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Review of The Unmaking of a College (2022)

By Ben Kenigsberg (863) for The New York Times (9,847) on 11 Feb 2022

The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves…

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Review of Playground (2022)

By A.a. Dowd (854) for The A.V. Club (5,644) on 11 Feb 2022

Playground smartly complicates the situation by showing how Nora juggles her desperate concern for her brother with a fear that his plummeting…

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Review of Playground (2022)

By A.a. Dowd (854) for The A.V. Club (5,644) on 11 Feb 2022

Playground smartly complicates the situation by showing how Nora juggles her desperate concern for her brother with a fear that his plummeting…

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Review of Flee (2021)

By Tara Brady (805) for The Irish Times (483) on 11 Feb 2022

There are obvious parallels between Rasmussen’s film and such similarly constructed animations as Ari Folman’s Waltz with Bashir and Keith…

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Review of Wheel of Fortune and Fantasy (2021)

By Tara Brady (805) for The Irish Times (483) on 11 Feb 2022

Wheel of Fortune and Fantasy is not quite the equal of the same film-maker’s Oscar contender, Drive My Car…

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Review of Kimi (2022)

By William Bibbiani (788) for TheWrap (3,203) on 11 Feb 2022

It’s a snack of a movie, not so much a full meal, and that’s OK…

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Review of Here Before (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 11 Feb 2022

Sometimes, the suggestive nature of Gregg’s impressionistic mood piece—as well as a characteristically strong lead performance by Riseborough…

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Review of The In Between (2022)

By Kate Erbland (681) for IndieWire (3,631) on 11 Feb 2022

Caught in between a love story and a ghost story, the film accidentally disproves the very epigraph that opens it — “Every love story is…

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Review of Kimi (2022)

By Alison Willmore (681) for New York Magazine (Vulture) (3,519) on 11 Feb 2022

Kimi threads its increasingly tense interactions with a modern melancholy…

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Review of Marry Me (2022)

By Alison Willmore (681) for New York Magazine (Vulture) (3,519) on 11 Feb 2022

For all that it has been positioned as the comeback of the rom-com queen, Marry Me isn’t really a return to form for the genre…

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Review of Bigbug (2022)

By Matt Zoller Seitz (637) for RogerEbert.com (5,563) on 11 Feb 2022

A tougher, smarter film than American sci-fi cinema buffs are used to seeing…

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Review of Wheel of Fortune and Fantasy (2021)

By Trevor Johnston (624) for Little White Lies (3,136) on 11 Feb 2022

An absorbing set of vignettes, though the third section definitely ups the emotional ante…

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Review of Encanto (2021)

By Voodoo123 (536) on 11 Feb 2022

A decent decent movie the harks back to the classic 90's formula…

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Review of Jackass Forever (2022)

By Alissa Wilkinson (499) for Vox (725) on 11 Feb 2022

I stumbled into the night after Jackass Forever with aching cheeks from laughing, a sore derriere from sitting, and a little bit of gratitude…

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Review of Bigbug (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 11 Feb 2022

While Bigbug is characteristically eccentric, it also has the most mainstream appeal of any Jeunet film since “Amélie.”…

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Review of Catch the Fair One (2022)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 11 Feb 2022

Catch the Fair One is a revenge-thriller, and a satisfying one, since the evil on display is so total. However, the satisfaction is hollow…

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Review of Uncharted (2022)

By Helen O'hara (407) for Time Out (7,510) on 11 Feb 2022

There still hasn’t been a truly great film based directly on a video game, and the characterisations here are more likely to annoy than delight…

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Review of Shut In (2022)

By Alan Ng (404) for Film Threat (5,156) on 11 Feb 2022

D.J. Caruso masterfully orchestrates this symphony of suspense, albeit a twenty-piece symphony, but a symphony nonetheless…

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Review of Kimi (2022)

By Bertobellamy (400) on 11 Feb 2022

Starts like some kind of high-tech ‘Rear Window, and ends in the most ‘Home Alone’ (even old Buzz is here!) way. And you know what…

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Review of I Want You Back (2022)

By Nick Allen (397) for RogerEbert.com (5,563) on 11 Feb 2022

Jenny Slate and Charlie Day deserve better than “I Want You Back,” a leaden rom-com that gives them a shot at being funny, charming, and…

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