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Review of The Voyeurs (2021)

By Johnny Oleksinski (478) for New York Post (6,650) on 10 Sep 2021

Writer-director Michael Mohan’s “drama” tries to be a modern Rear Window (emphasis on “rear”), but Hitchcock it ain’t…

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Review of Dating & New York (2021)

By Sheila O'malley (474) for RogerEbert.com (5,563) on 10 Sep 2021

The script is often very witty, peppered with sharp observations and two very entertaining performances, but there are underlying problems…

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Review of The Last Duel (2021)

By Jonathan Romney (434) for The Guardian (2,969) on 10 Sep 2021

An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic…

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Review of Malignant (2021)

By Lindsey Bahr (430) for The Associated Press (882) on 10 Sep 2021

Malignant at least has originality going for it…

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Review of 7 Prisoners (2021)

By Brad Wheeler (426) for The Globe and Mail (Toronto) (4,018) on 10 Sep 2021

This could have been a thriller, but thrills are cheap and Moratto aims for something more documentative, sombre and meditative…

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Review of Small Engine Repair (2021)

By Mae Abdulbaki (411) for Screen Rant (892) on 10 Sep 2021

While Small Engine Repair’s message is clear, it doesn’t completely take off and is fragmented in its pacing, with a twisted turn that…

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Review of Kate (2021)

By Odie Henderson (402) for RogerEbert.com (5,563) on 10 Sep 2021

Umair Aleem’s script is so paint-by-numbers familiar that it leaves you wishing you’d watched one of the better movies it’s ripping off…

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Review of The Voyeurs (2021)

By Nick Allen (397) for RogerEbert.com (5,563) on 10 Sep 2021

The Voyeurs craves to be the most salacious, outrageous non-pornographic movie you stream this weekend, and that itself is enticing…

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Review of Kate (2021)

By Metacriticonur (388) on 10 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 The Last Duel (2021)

By Fionnuala Halligan (367) for Screen Daily (1,021) on 10 Sep 2021

Whether it’s the sheer weight of the narrative repetition - which involves rewatching a brutal rape - or the two-men/one-woman perspective,…

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Review of Malignant (2021)

By Michael Ordona (350) for Los Angeles Times (12,977) on 10 Sep 2021

If you can hang with the slow gestation of the first hour or so of Malignant, the final third may grow on you…

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Review of The Electrical Life of Louis Wain (2021)

By Kate Taylor (347) for The Globe and Mail (Toronto) (4,018) on 10 Sep 2021

Cumberbatch excels once again at breathing life into a sorrowful genius…

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Review of Kate (2021)

By Roxana Hadadi (336) for Polygon (677) on 10 Sep 2021

Another unimaginative woman-led action flick written and directed by men who telegraph their twists and lean on flashbacks instead of bothering…

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Review of Dear Evan Hansen (2021)

By Robert Daniels (336) for RogerEbert.com (5,563) on 10 Sep 2021

It’s an emotionally manipulative, overlong dirge composed of cloying songs, lackluster vocal performances, and even worse writing…

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Review of Malignant (2021)

By Andrew Barker (315) for Variety (12,700) on 10 Sep 2021

It’s hard to say whether a film this bonkers “works” or not, but it’s impossible not to admire both the craft and the extravagant bad…

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Review of Malignant (2021)

By Chris Evangelista (306) for Slashfilm (971) on 10 Sep 2021

The lack of true scares may be a deal-breaker for some. And indeed, the overall outlandishness at work on the screen is going to flat-out…

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Review of The Guilty (2021)

By Chris Evangelista (306) for Slashfilm (971) on 10 Sep 2021

As a showcase for Gyllenhaal's talents, The Guilty is passable, but that's just not enough…

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Review of Language Lessons (2021)

By Carlos Aguilar (278) for Los Angeles Times (12,977) on 10 Sep 2021

Feel-good yet not cloying, Language Lessons wraps its comforting graciousness around you and says, “No estás solo / You are not alone.”…

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Review of The Guilty (2021)

By Steve Pond (235) for TheWrap (3,203) on 10 Sep 2021

Fuqua, like Möller before him, doesn’t really give you time to sit back and think about it…

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Review of Malignant (2021)

By Charles Bramesco (223) for The Guardian (2,969) on 10 Sep 2021

If only they’d put fuller faith in the true nature of their premise, and leaned all the way into the kookier side of body horror…

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