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Review of Blacklight (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 10 Feb 2022

At least Williams displays a bit of inventive flair with novel booby traps and a chase scene that features a lurching garbage truck…

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Review of Blacklight (2022)

By Joe Leydon (915) for Variety (12,700) on 10 Feb 2022

If you approach it with sufficiently lowered expectations, and have fond memories of the ’70s paranoid dramas that obviously inspired director…

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Review of Marry Me (2022)

By Brian Lowry (913) for CNN (497) on 10 Feb 2022

Designed to showcase Jennifer Lopez playing a character that could hardly be called a reach, Marry Me trades in the meet cute rom-com formula…

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Review of Death on the Nile (2022)

By David Fear (910) for Rolling Stone (4,035) on 10 Feb 2022

Death on the Nile has its joys and flaws apart from that Armie factor, but it’s almost like trying to assess whether the appetizer course…

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Review of Kimi (2022)

By Richard Brody (868) for The New Yorker (1,837) on 10 Feb 2022

Amid its tightly plotted action, it seethes with a rage that seems pressurized by the sealed-off grimness of the pandemic years…

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Review of Marry Me (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 10 Feb 2022

It helps, too, that the music is good (Kat and Bastian sing a lot, each song being plot-specific considering they’re writing about their…

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Review of Playground (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 10 Feb 2022

Wandel pulls no punches in her depiction, and both Leklou and Vanderbeque deliver performances well beyond their years…

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Review of Playground (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 10 Feb 2022

Wandel pulls no punches in her depiction, and both Leklou and Vanderbeque deliver performances well beyond their years…

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Review of Tall Girl 2 (2022)

By Jesse Hassenger (800) for The A.V. Club (5,644) on 10 Feb 2022

There’s a sweetness to the movie’s multiple storylines about teenagers earnestly, supportively pining for each other—and a neutered prudishness,…

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Review of Marry Me (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 10 Feb 2022

It's all cream puff, a featherweight fairytale too shiny and mild to attempt the better movie about midlife romance and second chances that…

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Review of Procession (2021)

By Guy Lodge (731) for Variety (12,700) on 10 Feb 2022

Procession is, in its own elegant and uneasy way, an inspiring film, idealistically invested in cinema itself as a medium for confession, confrontation…

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Review of The Sky Is Everywhere (2022)

By Kate Erbland (681) for IndieWire (3,631) on 10 Feb 2022

In the hands of director Josephine Decker, a filmmaker uniquely suited to depicting personal expression on the big screen, the film version…

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Review of I Want You Back (2022)

By Kate Erbland (681) for IndieWire (3,631) on 10 Feb 2022

There’s a deeper, more serious film at the heart of I Want You Back, but a bent toward offering up off-kilter comedic set pieces instead…

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Review of Marry Me (2022)

By Kate Erbland (681) for IndieWire (3,631) on 10 Feb 2022

But while that stew sounds familiar, Marry Me takes almost too long to get really cracking, with both romance and laughs in short supply, until…

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Review of Jockey (2021)

By Richard Whittaker (567) for Austin Chronicle (7,653) on 10 Feb 2022

Any workplace drama (and that’s what it is, more than a sports film) must fit you for the shoes of the laborer, and that’s exactly what…

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Review of The Sky Is Everywhere (2022)

By G. Allen Johnson (514) for San Francisco Chronicle (7,630) on 10 Feb 2022

Decker proudly revels in Lennie’s scattered uniqueness, even as Lennie navigates the minefield of her choices and says some truly kooky things…

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Review of Death on the Nile (2022)

By Nicolas Rapold (488) for The New York Times (9,847) on 10 Feb 2022

Death on the Nile, Kenneth Branagh’s second adaptation of Agatha Christie’s Hercule Poirot stories, forgets the simple pleasures of ensemble…

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Review of Death on the Nile (2022)

By Steve Davis (486) for Austin Chronicle (7,653) on 10 Feb 2022

At first, you fear this uncharted emotionalism may undercut the delicious pleasures of Christie’s clever plotting, this one being a particularly…

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Review of Marry Me (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 10 Feb 2022

Good on J.Lo for protecting the integrity of flighty rom-coms. Every movie need not be so serious and socially conscious…

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Review of Death on the Nile (2022)

By Johnny Oleksinski (478) for New York Post (6,650) on 10 Feb 2022

Branagh’s warped vision of these films as putrid, depressing slogs makes Death on the Nile interminable…

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