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Review of Halloween Kills (2021)

By Roger Moore (6,008) for Movie Nation (3,875) on 13 Oct 2021

Even die-hard horror fans can’t help but notice Halloween Kills stumbles through the nostalgia that made Green’s “Halloween” reboot…

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Review of Belfast (2021)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 13 Oct 2021

Love letters to the past are always addressed to an illusion, yet this is such a seductive piece of myth-making from Branagh…

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Review of Halloween Kills (2021)

By Michael Phillips (2,622) for Chicago Tribune (6,211) on 13 Oct 2021

Green has made so many interesting movies, from “George Washington” to “Snow Angels” to the best bits in “Pineapple Express” and…

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Review of Halloween Kills (2021)

By Michael O'sullivan (1,712) for Washington Post (9,851) on 13 Oct 2021

There’s a lot of baloney — along with bodies — sliced up by the end, with Laurie bloviating about how Michael has come to “transcend”…

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Review of The Last Duel (2021)

By Robbie Collin (1,612) for The Telegraph (1,120) on 13 Oct 2021

The Last Duel, which was adapted from a non-fiction book by Eric Jager, is a knotty, stimulating drama with a piquant #MeToo edge and the heft…

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Review of Fever Dream (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 13 Oct 2021

The film’s actual pay off – the truth exhumed from this tainted earth – is ultimately not quite as satisfying as the picture’s elegantly…

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Review of The Addams Family 2 (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 13 Oct 2021

A singularly unattractive animation style, jokes as flat as roadkill and a score that could be used as an instrument of torture are just some…

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Review of Fever Dream (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 13 Oct 2021

The film’s actual pay off – the truth exhumed from this tainted earth – is ultimately not quite as satisfying as the picture’s elegantly…

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Review of Fever Dream (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 13 Oct 2021

The film’s actual pay off – the truth exhumed from this tainted earth – is ultimately not quite as satisfying as the picture’s elegantly…

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Review of The Last Duel (2021)

By Dana Stevens (1,435) for Slate (2,081) on 13 Oct 2021

If Affleck and Driver at times appear to be on loan from a different, dopier movie, possibly one involving Monty Python, they both have such…

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Review of Bright: Samurai Soul (2021)

By David Ehrlich (1,229) for IndieWire (3,631) on 13 Oct 2021

The novelty lies in the animation, a “good in theory” attempt to combine the hand-etched texture of traditional Japanese woodblock printing…

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Review of The Last Duel (2021)

By Donald Clarke (1,051) for The Irish Times (483) on 13 Oct 2021

A rare historical epic that is connected to contemporary crises…

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Review of John and the Hole (2021)

By Mark Kermode (1,002) for The Observer (UK) (826) on 13 Oct 2021

While the result may not be quite as deep as the cavern at the centre of the story, it has an enticing sliver of ice at its heart…

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Review of The Last Duel (2021)

By David Fear (910) for Rolling Stone (4,035) on 13 Oct 2021

The experience is not Rashomon Redux so much as enduring a bad rash…

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Review of I'm Your Man (2021)

By Jim Slotek (879) for Original-Cin (1,156) on 13 Oct 2021

I’m Your Man is certainly a metaphor for our increasingly intimate relationship with our own technology…

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Review of Needle in a Timestack (2021)

By Jared Mobarak (867) for The Film Stage (3,162) on 13 Oct 2021

I don’t think John Ridley’s Needle in a Timestack (adapted from the short story by Robert Silverberg) quite reaches the full potential…

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Review of The Last Duel (2021)

By A.a. Dowd (854) for The A.V. Club (5,644) on 13 Oct 2021

The setting may be the 14th century, but this is very much a historical drama of modern concerns…

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Review of The Beta Test (2021)

By Leslie Felperin (768) for The Guardian (2,969) on 13 Oct 2021

Part delicious satire of Hollywood culture and part frustratingly muddled thriller…

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Review of Freeland (2021)

By Chuck Bowen (756) for Slant Magazine (8,298) on 13 Oct 2021

At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo…

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Review of Midnight in the Switchgrass (2021)

By Mauro_Lanari (665) on 13 Oct 2021

(Mauro Lanari) On the end credits, the debutant Emmett thanks Scorsese and it is the most surprising moment of the movie, in which Willis by…

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