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Review of No Time to Die (2021)

By Stephanie Zacharek (2,333) for Time (1,811) on 29 Sep 2021

With his fifth movie as 007, Craig is so extraordinary he leaves only scorched earth behind…

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Review of Black as Night (2021)

By Bill Goodykoontz (2,123) for Arizona Republic (3,909) on 29 Sep 2021

Unfortunately, the plot as a whole is rushed, with character-development shortcuts and one whopping out-of-the-blue development that seems…

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Review of No Time to Die (2021)

By A.o. Scott (2,100) for The New York Times (9,847) on 29 Sep 2021

The overall vibe — a look that is both opulent and generic; a tone that mixes brisk professionalism with maundering self-pity; an aggressive,…

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Review of Titane (2021)

By Ann Hornaday (1,919) for Washington Post (9,851) on 29 Sep 2021

With Titane, Ducournau joins the crowded realm of elevated horror, to increasingly outlandish and alienating effect…

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Review of Never Rarely Sometimes Always (2020)

By Robbie Collin (1,612) for The Telegraph (1,120) on 29 Sep 2021

There’s zero latitude in the spare, naturalistic script for actorly showboating – but the performances, as captured by French cinematographer…

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Review of No Time to Die (2021)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 29 Sep 2021

Even as it’s closing character arcs that started years ago, it feels like a film with too little at stake, a movie produced by a machine…

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Review of Falling for Figaro (2021)

By Gary Goldstein (1,089) for Los Angeles Times (12,977) on 29 Sep 2021

The movie is also notable for featuring not just one but two unconvincing romantic dynamics…

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Review of Prisoners of the Ghostland (2021)

By Bilge Ebiri (1,050) for New York Magazine (Vulture) (3,519) on 29 Sep 2021

Sion Sono’s Prisoners of the Ghostland throws so much extreme weirdness and violence at us that we might overlook the fact that there’s…

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Review of Never Rarely Sometimes Always (2020)

By Mark Kermode (1,002) for The Observer (UK) (826) on 29 Sep 2021

Perfectly pitched and sensitively played, this is truthful, powerful and profoundly moving fare from a film-maker at the very top of her game…

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Review of No Time to Die (2021)

By Keith Uhlich (870) for Slant Magazine (8,298) on 29 Sep 2021

This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological…

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Review of No One Gets Out Alive (2021)

By Ben Kenigsberg (863) for The New York Times (9,847) on 29 Sep 2021

The movie has not bothered to connect its ideas…

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Review of No Time to Die (2021)

By A.a. Dowd (854) for The A.V. Club (5,644) on 29 Sep 2021

No Time To Die is forgettable in all the places that usually count—it’s a Bond movie with little excitement or panache…

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Review of No Time to Die (2021)

By Barry Hertz (792) for The Globe and Mail (Toronto) (4,018) on 29 Sep 2021

It is both eager to distinguish itself from the series’ shaggiest shenanigans but also happy to embrace them whenever it feels things threaten…

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Review of No Time to Die (2021)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 29 Sep 2021

The levity of the first half is soon sorely missed, and the run length alone — the movie clocks in at just under 165 minutes — dilutes…

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Review of The Tragedy of Macbeth (2021)

By Alison Willmore (681) for New York Magazine (Vulture) (3,519) on 29 Sep 2021

Washington manages the near-impossible feat of delivering his lines as though he’s putting the words together in the moment, speaking some…

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Review of The Tragedy of Macbeth (2021)

By Alison Willmore (681) for New York Magazine (Vulture) (3,519) on 29 Sep 2021

Washington manages the near-impossible feat of delivering his lines as though he’s putting the words together in the moment, speaking some…

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Review of Coming Home in the Dark (2021)

By Richard Whittaker (567) for Austin Chronicle (7,653) on 29 Sep 2021

It's Gillies' performance that raises Coming Home in the Dark from fascinating to utterly chilling, complimenting Matt Henley's cold, angular…

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Review of No Time to Die (2021)

By Richard Lawson (539) for Vanity Fair (761) on 29 Sep 2021

Craig is certainly sent off in grand fashion, but it’s a grandiosity that isn’t quite fitting for his run of films…

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Review of The Tragedy of Macbeth (2021)

By Richard Lawson (539) for Vanity Fair (761) on 29 Sep 2021

Coen and his acting troupe make dense language wholly legible, bending famous phrases into intriguing new shapes…

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Review of The Tragedy of Macbeth (2021)

By Richard Lawson (539) for Vanity Fair (761) on 29 Sep 2021

Coen and his acting troupe make dense language wholly legible, bending famous phrases into intriguing new shapes…

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