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Review of Navalny (2022)

By Owen Gleiberman (3,271) for Variety (12,700) on 29 Jan 2022

The film flashes back to the poisoning, and it could be the most sickening and calamitous suspense-thriller episode you ever saw…

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Review of Downfall: The Case Against Boeing (2022)

By Elizabeth Weitzman (1,905) for TheWrap (3,203) on 29 Jan 2022

A work of impressive investigative cinema…

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Review of The Janes (2022)

By Elizabeth Weitzman (1,905) for TheWrap (3,203) on 29 Jan 2022

It’s a shame that Lessin and Pildes don’t tell us what these amazing women went on to do after the Collective ended…

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Review of Parallel Mothers (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 29 Jan 2022

It’s Cruz who sets the tone, with a performance that radiates warmth and is refreshingly forgiving of her character’s flaws…

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Review of Summering (2022)

By Wendy Ide (1,500) for Screen Daily (1,021) on 29 Jan 2022

Key to the film’s appeal is the way that the friendship between the four girls, Dina, Lola, Daisy (Lisa Barnett), and Mari (Eden Grace Redfield),…

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Review of Utama (2022)

By Wendy Ide (1,500) for Screen Daily (1,021) on 29 Jan 2022

Through the love story at the heart of this visually arresting feature debut, Utama offers the audience a relatable connection with a way of…

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Review of All That Breathes (2022)

By Allan Hunter (1,486) for Screen Daily (1,021) on 29 Jan 2022

Saud, Nadeem and Salik are engaging and inspirational individuals…

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Review of I Didn't See You There (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 29 Jan 2022

Viewed on its own, it communicates much less than its maker seems to intend, hovering in a not-very-satisfying zone between advocacy doc, first-person…

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Review of All That Breathes (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 29 Jan 2022

All That Breathes is determined to illustrate how two peoples’ failure to listen to each other is no different than one species’ failure…

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Review of 2nd Chance (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 29 Jan 2022

Jaw-dropping but often unfocused…

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Review of Downfall: The Case Against Boeing (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 29 Jan 2022

Basic yet enraging ... it shines a harsh light at one of the greatest evils of our time with all the panache of a Dateline special…

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Review of Navalny (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 29 Jan 2022

Whatever their respective agendas, Navalny finds subject and filmmaker alike bound together by the shared belief that authoritarian governments…

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Review of The Janes (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 29 Jan 2022

Speaking with a number of the women who broke the law in the name of justice, and others who were involved in their underground network, The…

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Review of The Territory (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 29 Jan 2022

Its strength lies in the way it offers intimate access to people on several clashing sides of the situation, making for a complex, layered…

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Review of Leonor Will Never Die (2022)

By Amy Nicholson (961) for Variety (12,700) on 29 Jan 2022

Escobar is after something deeper than parody. She wants audiences to question how fictional strongmen have been idealized as real-world saviors…

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Review of Yesterday (2019)

By Alejandro970 (859) on 29 Jan 2022

Can you imagine a world where your favorite rock band never existed…

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Review of Yesterday (2019)

By Alejandro970 (859) on 29 Jan 2022

Can you imagine a world where your favorite rock band never existed…

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Review of Downfall: The Case Against Boeing (2022)

By Lisa Kennedy (833) for Variety (12,700) on 29 Jan 2022

Riveting ... Kennedy not only builds a case against Boeing but offers an object lesson in the tragic consequences of corporate greed and hubris…

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Review of Summering (2022)

By Jason Bailey (832) for The Playlist (3,871) on 29 Jan 2022

All in all, Summering is a very nice movie – sweet, affectionate, nostalgic, harmless – so it’s tempting to give it a pass…

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Review of Jockey (2021)

By Brent_Marchant (762) on 29 Jan 2022

One of the worst sins a film can commit is to provide its viewers with a seemingly engaging premise and then completely drop the ball…

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