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Review of Red Rocket (2021)

By Stephanie Zacharek (2,333) for Time (1,811) on 10 Dec 2021

Red Rocket isn’t the warmest of Baker’s films; it has a flinty edge that makes it hard to embrace…

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Review of France (2021)

By A.o. Scott (2,100) for The New York Times (9,847) on 10 Dec 2021

While France remains interesting, thanks to Seydoux’s tough and resourceful performance, “France” loses its emotional force and its intellectual…

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Review of West Side Story (2021)

By Tvjerry (1,783) on 10 Dec 2021

In his first musical, Steven Spielberg chose to revive this 1957 classic, while bringing Tony Kushner along to re-work the script in some major…

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Review of Don't Look Up (2021)

By Liam Lacey (1,725) for Original-Cin (1,156) on 10 Dec 2021

Running a long 145 minutes, it’s bleakly cartoonish polemic with few laughs or dramatic peaks, despite a climactic mad-as-hell speech from…

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Review of Ghostbusters: Afterlife (2021)

By Robbie Collin (1,612) for The Telegraph (1,120) on 10 Dec 2021

The effects have a pleasingly retro patina, but the action itself is drab, the jokes scarce, while the town itself is both entirely characterless…

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Review of West Side Story (2021)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 10 Dec 2021

There’s so much beauty in this West Side Story…

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Review of Back to the Outback (2021)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 10 Dec 2021

The problem here is a recurring one with recent family entertainment and it's how little there is below the repetitive surface…

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Review of Home Sweet Home Alone (2021)

By Tim Robey (1,578) for The Telegraph (1,120) on 10 Dec 2021

We’d give the lazy set-up a pass if sufficiently fun things started happening off the back of it…

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Review of Bruised (2021)

By Tim Robey (1,578) for The Telegraph (1,120) on 10 Dec 2021

As a debut, it’s grungy, overscaled and rarely far from cliché. But it also has guts, and there’s a vigour to the acting that pulls it through…

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Review of Encounter (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 10 Dec 2021

After setting up a potentially powerful study of damage and delusion, Pearce (whose 2018 feature debut, “Beast,” signaled an unusual talent)…

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Review of Encounter (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 10 Dec 2021

After setting up a potentially powerful study of damage and delusion, Pearce (whose 2018 feature debut, “Beast,” signaled an unusual talent)…

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Review of Encounter (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 10 Dec 2021

After setting up a potentially powerful study of damage and delusion, Pearce (whose 2018 feature debut, “Beast,” signaled an unusual talent)…

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Review of Red Rocket (2021)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 10 Dec 2021

Red Rocket is both a laser-focused character study and a scrappy, scrupulously observed portrait of a tight-knit community…

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Review of The Last Son (2021)

By Christy Lemire (1,262) for RogerEbert.com (5,563) on 10 Dec 2021

Director Tim Sutton, working from a script by Greg Johnson, offers some striking visuals and a couple of compelling performances…

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Review of The Duke (2021)

By Gary Goldstein (1,089) for Los Angeles Times (12,977) on 10 Dec 2021

Michell, working off a jaunty script by Richard Bean and Clive Coleman, keeps the action bubbling along with little room to ponder the stranger-than-fiction…

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Review of National Champions (2021)

By Brian Lowry (913) for CNN (497) on 10 Dec 2021

At its best, National Champions feels calibrated to provoke a conversation about the flawed framework of college sports, which is talked about…

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Review of Red Rocket (2021)

By A.a. Dowd (854) for The A.V. Club (5,644) on 10 Dec 2021

Rex is a revelation here, a star reborn…

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Review of Lamb (2021)

By Tara Brady (805) for The Irish Times (483) on 10 Dec 2021

The wild conceit is, against all odds, through smart writing and clever use of CGI and puppets, made palatable. The denouement is pleasingly shocking…

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Review of Clifford the Big Red Dog (2021)

By Tara Brady (805) for The Irish Times (483) on 10 Dec 2021

It’s loud, it’s silly, it’s over-saturated; the smaller viewers at the family screening I attended were wildly impressed…

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Review of LAMB (2021)

By Tara Brady (805) for The Irish Times (483) on 10 Dec 2021

The wild conceit is, against all odds, through smart writing and clever use of CGI and puppets, made palatable. The denouement is pleasingly shocking…

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