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Review of A Banquet (2022)

By Courtney Howard (393) for Variety (12,700) on 17 Sep 2021

The filmmakers raise some interesting points, but it becomes an exercise in frustration to interpret the calculated connection between disordered…

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Review of Cry Macho (2021)

By Metacriticonur (388) on 17 Sep 2021

Bad [ bad ] adjective, worse, worst;(Slang) bad·der, bad·dest for 36. not good in any manner or degree…

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Review of Prisoners of the Ghostland (2021)

By Metacriticonur (388) on 17 Sep 2021

Bad [ bad ] adjective, worse, worst;(Slang) bad·der, bad·dest for 36. not good in any manner or degree…

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Review of My Name Is Pauli Murray (2021)

By Inkoo Kang (374) for The Hollywood Reporter (7,050) on 17 Sep 2021

The sequential, numbers-heavy structure can make for plodding viewing, especially in the film’s first half…

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Review of The Nowhere Inn (2021)

By John Fink (368) for The Film Stage (3,162) on 17 Sep 2021

Director Bill Benz (best known for episodes of Portlandia), Clark, and Brownstein have a good deal of fun playing the business side of show…

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Review of Belfast (2021)

By Fionnuala Halligan (367) for Screen Daily (1,021) on 17 Sep 2021

The result is engaging, tender film-making which tugs at the heart-strings, spurred by a sympathetic cast and the young lead, newcomer Jude Hill…

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Review of Attica (2021)

By Robert Daniels (336) for IndieWire (3,631) on 17 Sep 2021

A harrowing piece of filmmaking, and a fitting, powerful remembrance of those who fought for their humanity…

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Review of Memoria (2021)

By Robert Daniels (336) for Polygon (677) on 17 Sep 2021

Weerasethakul’s Memoria doesn’t give too many answers. It moves at an interminable pace…

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Review of Spencer (2021)

By Robert Daniels (336) for Polygon (677) on 17 Sep 2021

Spencer is an act of psychological horror, a kind of ghost story, and a survivalist picture carried by an uncannily immersive Kristen Stewart,…

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Review of Montana Story (2022)

By Robert Daniels (336) for IndieWire (3,631) on 17 Sep 2021

Montana Story doesn’t reinvent the Western wheel. Rather it offers tender mercies as a sentimental work that explodes in well-earned fury…

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Review of Beba (2022)

By Robert Daniels (336) for IndieWire (3,631) on 17 Sep 2021

Without hesitation, she talks about her own shortcomings too…

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Review of Alien Resurrection (1997)

By Habibiehakim (321) on 17 Sep 2021

Well, Ripley is not Ripley anymore, the movie was boring, none of the performance are good, it's not exciting at all, it's too long, it's terrible,…

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Review of Attica (2021)

By Dan Fienberg (310) for The Hollywood Reporter (7,050) on 17 Sep 2021

Nelson’s newest film ... may be his most important yet. ... That’s why it’s hard to criticize Nelson when there are gaps in his storytelling…

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Review of Spencer (2021)

By Chris Evangelista (306) for Slashfilm (971) on 17 Sep 2021

Spencer will break your heart, but it will bring it warmth, too…

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Review of Old Henry (2021)

By Xan Brooks (287) for The Guardian (2,969) on 17 Sep 2021

Old Henry is a determinedly low-aiming affair…

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Review of The Nowhere Inn (2021)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 17 Sep 2021

Plenty watchable and inspired from a visual standpoint, The Nowhere Inn is a less refined and less provocative relative of Joanna Hogg’s…

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Review of Best Sellers (2021)

By Andrew Crump (271) for Paste Magazine (2,906) on 17 Sep 2021

Most of Best Sellers’ problems have to do with structure instead of performance, so there’s not much that Plaza and Caine can do…

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Review of Old Henry (2021)

By Steve Pond (235) for TheWrap (3,203) on 17 Sep 2021

The Western is a genre weighted down with dark history, and Henry is a man in the same position, haunted to a degree that Nelson makes transfixing…

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Review of Listening to Kenny G (2021)

By Steve Pond (235) for TheWrap (3,203) on 17 Sep 2021

It’s a very entertaining trip, but it doesn’t really go anywhere: If you go in loving Kenny G you’ll come out that way, and if you go…

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Review of The Forgiven (2022)

By Steve Pond (235) for TheWrap (3,203) on 17 Sep 2021

Dark and unsettling, The Forgiven doesn’t ask us to like its characters, but it forces us to watch as privilege begins to shatter and people…

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