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Review of Procession (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 19 Nov 2021

Observational documentaries are by nature intrusive, but Procession, miraculously, never feels that way — you sense humane engagement, not…

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Review of Paper & Glue (2021)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 19 Nov 2021

When JR turns his gaze toward a person and pastes their image on a wall, he’s inviting others not just to participate in this project but…

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Review of Kurt Vonnegut: Unstuck in Time (2021)

By David Ehrlich (1,229) for IndieWire (3,631) on 19 Nov 2021

If “Unstuck in Time” offers an erudite and affectionate portrait of its subject despite being so oddly generic, Weide shares his own frustrations…

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Review of Dune (2021)

By Imthenoob (1,101) on 19 Nov 2021

Dune is a purely visual experience that wastes its cast by giving them virtually nothing to say or do in the second half…

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Review of The Power of the Dog (2021)

By Donald Clarke (1,051) for The Irish Times (483) on 19 Nov 2021

Working halfway round the world, Campion has fashioned a startling translation of later chapters in the American creation myth…

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Review of tick, tick... BOOM! (2021)

By Brian Lowry (913) for CNN (497) on 19 Nov 2021

Deftly expanding the source material into a movie, the film is anchored by a sensational performance by Andrew Garfield as Larson…

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Review of Encanto (2021)

By Brian Lowry (913) for CNN (497) on 19 Nov 2021

Encanto compensates for the dearth of traditional conflict with a colorful world filled with powers and an abundance of music…

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Review of Dune (1984)

By Alejandro970 (859) on 19 Nov 2021

Perhaps we will never know if this version (1984) could have the same strengths as the current version (2021) were it not for the fact that…

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Review of Kindergarten Cop (1990)

By Filipeneto (856) on 19 Nov 2021

This film can match Junior and Twins, making up a trio of quality comedies that Arnold Schwarzenegger starred in during the Nineties, under…

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Review of The Witches of Eastwick (1987)

By Filipeneto (856) on 19 Nov 2021

I confess that I expected something different from this movie, but I didn't feel dissatisfied with what I saw…

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Review of The Feast (2021)

By William Bibbiani (788) for TheWrap (3,203) on 19 Nov 2021

The first two courses of this three-course meal were on the bland side…

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Review of The Feast (2021)

By William Bibbiani (788) for TheWrap (3,203) on 19 Nov 2021

The first two courses of this three-course meal were on the bland side…

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Review of Red Notice (2021)

By Richard Lawson (539) for Vanity Fair (761) on 19 Nov 2021

Red Notice is limp and dull, and does more to showcase the shortcomings of each of its marquee idols than it does to highlight their bankable…

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Review of Brimstone (2016)

By Voodoo123 (536) on 19 Nov 2021

+Excellent cast +Decent production quality -Terrible 'movie logic' moments Brimstone is an interesting drama/thriller spoiled by a meandering…

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Review of C'mon C'mon (2021)

By Jessica Kiang (522) for Los Angeles Times (12,977) on 19 Nov 2021

If its rueful, midlife nostalgia doesn’t carry quite the same current of vibrant, urgent empathy as “20th Century Women” or “Beginners,”…

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Review of Bruised (2021)

By Ian Freer (515) for Empire (3,446) on 19 Nov 2021

Not even Halle Berry’s presence can enliven this stale sports film-family drama mash-up…

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Review of Drive My Car (2021)

By Ian Freer (515) for Empire (3,446) on 19 Nov 2021

The bizarre intersection between Ryūsuke Hamaguchi, Haruki Murakami and Anton Chekhov makes for a thematically fat, ambiguous, absorbing psycho-sexual…

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Review of Passing (2021)

By Alissa Wilkinson (499) for Vox (725) on 19 Nov 2021

The result is cool, elegant, and devastating, a film as tightly woven and plaintive as the source novel itself…

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Review of Procession (2021)

By Alissa Wilkinson (499) for Vox (725) on 19 Nov 2021

In letting them retell those stories their way, and asking us to watch, Procession dares its audience to not look away…

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Review of Belfast (2021)

By Alissa Wilkinson (499) for Vox (725) on 19 Nov 2021

It’s become a lazy critical cliché to declare that a film is a love letter to a city or to the past or to cinema, but in this case it’s…

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