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Review of My Son (2021)

By Brian Tallerico (1,600) for The Playlist (3,871) on 17 Sep 2021

An improvised thriller should feel dangerous and unpredictable, putting viewers in the shoes of a man operating on instinct, but My Son often…

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Review of Listening to Kenny G (2021)

By Peter Debruge (1,557) for Variety (12,700) on 17 Sep 2021

Ruthlessly entertaining ... Lane is a master archive digger, unearthing priceless artifacts, some damning, others endearing…

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Review of The Eyes of Tammy Faye (2021)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 17 Sep 2021

Unfortunately, [Showalter] is often stymied by a pedestrian script by Abe Sylvia ( TV series “Dead to Me” and “Nurse Jackie”) that…

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Review of My Name Is Pauli Murray (2021)

By Allan Hunter (1,486) for Screen Daily (1,021) on 17 Sep 2021

West and Cohen reflect some of Murray’s unassuming nature in a diligently assembled, absorbing film that treats its fascinating subject matter…

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Review of Becoming Cousteau (2021)

By Allan Hunter (1,486) for Screen Daily (1,021) on 17 Sep 2021

Garbus’s approach is respectful, never hagiographic and allows room for consideration of Cousteau’s professional regrets and personal failings…

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Review of A Banquet (2022)

By Allan Hunter (1,486) for Screen Daily (1,021) on 17 Sep 2021

An intense combination of apocalyptic nightmare and family psychodrama…

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Review of Old Henry (2021)

By Tim Grierson (1,482) for Screen Daily (1,021) on 17 Sep 2021

Writer-director Potsy Ponciroli has crafted a taut Western that borrows heavily from familiar themes and storylines, but it has been constructed…

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Review of Montana Story (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 17 Sep 2021

Haley Lu Richardson and Owen Teague are both excellent at conveying everything that remains unsaid between these estranged siblings, eschewing…

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Review of Beba (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 17 Sep 2021

The free-flowing style, aided by dreamlike editing from Isabel Freeman, is both playful and sombre, offering a captivating snapshot of a young…

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Review of The Survivor (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 17 Sep 2021

There’s no shortage of familiar elements here, and yet one can’t deny the empathy Levinson brings to the material…

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Review of The Survivor (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 17 Sep 2021

There’s no shortage of familiar elements here, and yet one can’t deny the empathy Levinson brings to the material…

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Review of The Survivor (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 17 Sep 2021

Ben Foster goes through more than one striking transformation here, changing body and soul while neither shying away from nor overdramatizing…

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Review of The Survivor (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 17 Sep 2021

Ben Foster goes through more than one striking transformation here, changing body and soul while neither shying away from nor overdramatizing…

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Review of A Banquet (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 17 Sep 2021

Justin Bull’s screenplay comes up short, failing to adequately capture the depth of its teen’s encounter with the abyss — her anorexia…

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Review of Azor (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 17 Sep 2021

To the less patient viewer, the lack of clarity on the finer points of high finance and characters’ backgrounds and not getting period-orienting…

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Review of Faya Dayi (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 17 Sep 2021

In eschewing directness of intent for the artful massaging of space, sound and rhythm, Beshir’s film — a very personal project for the…

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Review of The Nowhere Inn (2021)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 17 Sep 2021

Layered storytelling that tests the limits of the screen and the fourth wall allows for Clark and Brownstein to play at playing themselves,…

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Review of The Survivor (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 17 Sep 2021

Foster’s performance is ultimately the only thing that holds The Survivor together across its three parallel timelines…

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Review of The Survivor (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 17 Sep 2021

Foster’s performance is ultimately the only thing that holds The Survivor together across its three parallel timelines…

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Review of The Starling (2021)

By Gary Goldstein (1,089) for Los Angeles Times (12,977) on 17 Sep 2021

It may seem churlish to knock a film that works so hard to present everyday, well-meaning folks facing unspeakable, real-life pain…

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