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Review of Prisoners of the Ghostland (2021)

By Richard Roeper (2,737) for Chicago Sun-Times (7,580) on 14 Sep 2021

An “Escape From New York”-meets-“Mad Max” ripoff that desperately wants to be a bonkers, midnight drive-in cult classic but doesn’t…

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Review of The Eyes of Tammy Faye (2021)

By Josh Larsen (2,042) for LarsenOnFilm (1,412) on 14 Sep 2021

By its bombastic (and somewhat abrupt) final scene, you have to imagine that The Eyes of Tammy Faye accurately captures how Tammy Faye saw herself…

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Review of Shang-Chi and the Legend of the Ten Rings (2021)

By Tvjerry (1,783) on 14 Sep 2021

Simu Liu brings his charm and charisma from the hit Canadian comedy Kim’s Convenience to his role as the first Asian hero in the Marvel movie…

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Review of Copshop (2021)

By Michael O'sullivan (1,712) for Washington Post (9,851) on 14 Sep 2021

Though there’s no reinvention of the genre here, Louder’s mesmerizing mouse proves more than a match for the assembled tomcats — all…

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Review of The Forgiven (2022)

By Peter Debruge (1,557) for Variety (12,700) on 14 Sep 2021

McDonagh’s characters are more complex than the initial caricatures make them out to be — perhaps, in the end, even pitiful — leaving…

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Review of Encounter (2021)

By Wendy Ide (1,500) for Screen Daily (1,021) on 14 Sep 2021

In Pearce’s sure hands, the film sustains its tension, even as it sideswipes the audience with slickly executed change of tone…

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Review of Encounter (2021)

By Wendy Ide (1,500) for Screen Daily (1,021) on 14 Sep 2021

In Pearce’s sure hands, the film sustains its tension, even as it sideswipes the audience with slickly executed change of tone…

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Review of Encounter (2021)

By Wendy Ide (1,500) for Screen Daily (1,021) on 14 Sep 2021

In Pearce’s sure hands, the film sustains its tension, even as it sideswipes the audience with slickly executed change of tone…

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Review of Hallelujah: Leonard Cohen, a Journey, a Song (2022)

By Wendy Ide (1,500) for Screen Daily (1,021) on 14 Sep 2021

This is filmmaking which echoes Cohen’s music style – it’s contemplative, searching and stripped back, but it can also be somewhat navel…

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Review of The Desperate Hour (2022)

By Allan Hunter (1,486) for Screen Daily (1,021) on 14 Sep 2021

Directed with brisk efficiency by Philip Noyce, the mix of adrenaline-rush emotion, manipulative melodrama and moralising is surprisingly entertaining…

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Review of The Forgiven (2022)

By Tim Grierson (1,482) for Screen Daily (1,021) on 14 Sep 2021

The storytelling ends up a little too murky to be the grand commentary on privilege and exploitation McDonagh intends…

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Review of The Forgiven (2022)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 14 Sep 2021

Scripted, directed and acted with intelligence and panache, it’s a very grown-up film but never a bore, a morally alert drama that leaves…

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Review of The Desperate Hour (2022)

By Robert Abele (1,309) for TheWrap (3,203) on 14 Sep 2021

A crisis scenario striving for issue-driven importance that should have paid more attention to its dull suspense mechanics, slapdash style,…

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Review of Best Sellers (2021)

By Jim Slotek (879) for Original-Cin (1,156) on 14 Sep 2021

Its script is undercooked and veers in random directions from its simple premise. But it has a heart, and two likeable leads who work well together…

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Review of The Card Counter (2021)

By Richard Brody (868) for The New Yorker (1,837) on 14 Sep 2021

Above all, the film decries the impunity that the war’s masterminds and the country’s leaders enjoyed while William and other frontline…

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Review of Encounter (2021)

By Jared Mobarak (867) for The Film Stage (3,162) on 14 Sep 2021

Pearce and Barton set up this heavy emotional narrative dealing with mental illness, PTSD, and familial love only to undercut it with loud…

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Review of Encounter (2021)

By Jared Mobarak (867) for The Film Stage (3,162) on 14 Sep 2021

Pearce and Barton set up this heavy emotional narrative dealing with mental illness, PTSD, and familial love only to undercut it with loud…

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Review of Encounter (2021)

By Jared Mobarak (867) for The Film Stage (3,162) on 14 Sep 2021

Pearce and Barton set up this heavy emotional narrative dealing with mental illness, PTSD, and familial love only to undercut it with loud…

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Review of Bambi (1942)

By Filipeneto (856) on 14 Sep 2021

Throughout my childhood, I never had the opportunity to see this film, partly because it was never my first choice among the films I could…

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Review of The Forgiven (2022)

By Jason Bailey (832) for The Playlist (3,871) on 14 Sep 2021

McDonagh is such a smart writer that one spends much of the movie waiting for his script to exhibit some awareness of the trope, and to comment…

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