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Review of Charlotte (2022)

By Wendy Ide (1,500) for Screen Daily (1,021) on 18 Sep 2021

It’s a handsome film, but a conventional one, rather missing the opportunity of allowing Salomon’s thrilling uninhibited style to inform…

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Review of Mona Lisa and the Blood Moon (2022)

By Wendy Ide (1,500) for Screen Daily (1,021) on 18 Sep 2021

All seamy New Orleans sleaze, with a neon and nylon aesthetic, the film relishes its own trashiness…

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Review of The Humans (2021)

By Tim Grierson (1,482) for Screen Daily (1,021) on 18 Sep 2021

The Humans is a marvel of slight shifts in tone and rhythm, guided by a uniformly strong cast of actors who deliver naturalistic performances…

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Review of The Good House (2021)

By Alonso Duralde (1,351) for TheWrap (3,203) on 18 Sep 2021

It’s all too rare that audiences are treated to a big-screen examination of a woman’s inner turmoil, let alone a woman in the grandmotherly…

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Review of The Humans (2021)

By Robert Abele (1,309) for TheWrap (3,203) on 18 Sep 2021

In the aggregate, Karam’s directing is so meticulously composed about conveying the density of what’s unsaid, and the mood around the people…

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Review of The Humans (2021)

By David Ehrlich (1,229) for IndieWire (3,631) on 18 Sep 2021

The result is a stilted and unnerving film that chips away at the petrified staginess of its origins with every sudden noise, as if Karam were…

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Review of True Things (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 18 Sep 2021

Wootliff cuts away everything other than the raw nerves that are left exposed, creating a film more elemental than narrative…

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Review of Earwig (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 18 Sep 2021

The result is an impressionistic film that flirts with slow cinema on its way towards something more incantatory; a film that doesn’t want…

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Review of Inu-Oh (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 18 Sep 2021

At heart, Inu-Oh is a film about storytelling’s power to keep the past alive, and while Yuasa’s carnivalesque extravaganza can be too slippery…

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Review of The Good House (2021)

By David Ehrlich (1,229) for IndieWire (3,631) on 18 Sep 2021

Like its heroine and namesake, The Good House is a drama that strives to sell itself as a sly and vaguely supernatural comedy for adults…

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Review of Free Guy (2021)

By Compi24 (1,147) on 18 Sep 2021

Brushing aside the teeth-gnashing cringe that'll no doubt ensue after every instance of a famous streamer trying to chunder their way through…

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Review of Malignant (2021)

By Thequietgamer (1,082) on 18 Sep 2021

When the true greats of the genre weren't releasing the likes of Halloween or A Nightmare on Elm Street, they were making lesser known and…

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Review of Only You (2019)

By Mark Kermode (1,002) for The Observer (UK) (826) on 18 Sep 2021

Vividly rendered, and filled with tangible yearning, it strikes a balance between romantic passion and mundane domesticity, as the skin-prickling…

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Review of Bitterbrush (2022)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 18 Sep 2021

As the filmmaker traces a season of range riding for two exceptionally skilled and resourceful young women, her documentary becomes more than…

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Review of The Good House (2021)

By Sheri Linden (962) for The Hollywood Reporter (7,050) on 18 Sep 2021

There are big questions churning beneath the story, yet even Hildy’s personal turmoil feels somehow too neat…

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Review of The Colony (2021)

By Broyax (884) on 18 Sep 2021

Ce nanar germano-suisse est également appelé ‘The Colony’ ou ‘Tides’ selon les régions d’export… il a dans le rôle-titre notre…

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Review of Costa Brava, Lebanon (2022)

By Keith Uhlich (870) for The Hollywood Reporter (7,050) on 18 Sep 2021

When it comes to individual people and their hopes, fears and desires, Akl has a talent for both the surreal flourish and the grounded insight…

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Review of Costa Brava, Lebanon (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 18 Sep 2021

Akl provides the scenario a keen insight that only someone going through the same push and pull as the characters could…

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Review of The Wheel (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 18 Sep 2021

It’s messy and overly convoluted, but the ends do mostly justify the means…

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Review of True Things (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 18 Sep 2021

Adapting a book by Deborah Kay Davies, director Harry Wootliff and her co-writer Molly Davies bring True Things to life as a quasi-reaction…

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