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Review of Queenpins (2021)

By Michael Phillips (2,622) for Chicago Tribune (6,211) on 09 Sep 2021

As a sort-of-true-crime comedy, spinning a yarn of middle-class larceny and extreme, deeply unlawful couponing, it’s likely to offend no…

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Review of Language Lessons (2021)

By A.o. Scott (2,100) for The New York Times (9,847) on 09 Sep 2021

The twists in the story are meant to raise the emotional stakes, but they have the opposite effect, undermining the credibility of the premise…

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Review of The Card Counter (2021)

By Josh Larsen (2,042) for LarsenOnFilm (1,412) on 09 Sep 2021

With The Card Counter, Schrader offers another self-flagellating portrait of a man who’s experienced—and enacted—great sin, struggling…

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Review of Small Engine Repair (2021)

By Marc Savlov (2,019) for Austin Chronicle (7,653) on 09 Sep 2021

Small Engine Repair is a real American horror story, skillfully shot, perfectly cast and acted, and carrying a sorrowful message that resonates…

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Review of The Card Counter (2021)

By Manohla Dargis (1,909) for The New York Times (9,847) on 09 Sep 2021

The solitary man returns in The Card Counter, a haunting, moving story of spirit and flesh, sin and redemption, love and death about another…

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Review of Malignant (2021)

By Frank Scheck (1,741) for The Hollywood Reporter (7,050) on 09 Sep 2021

The film might have been outrageously bizarre fun if it displayed any humor or ironic self-consciousness, but everything is played so straight…

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Review of Fire Music (2021)

By Frank Scheck (1,741) for The Hollywood Reporter (7,050) on 09 Sep 2021

Featuring past and recent interviews with many of the key figures and generous doses of archival photographs and vintage performance footage,…

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Review of Fire Music (2021)

By Glenn Kenny (1,728) for The New York Times (9,847) on 09 Sep 2021

This concise but cogent documentary directed by Tom Surgal is crammed with exhilarating sounds, moving reminiscences and stimulating arguments…

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Review of The Capote Tapes (2021)

By Glenn Kenny (1,728) for The New York Times (9,847) on 09 Sep 2021

There’s some fascinating and provocative material in The Capote Tapes that is diluted by the director Ebs Burnough’s insistence on teasing…

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Review of Dear Evan Hansen (2021)

By Peter Debruge (1,557) for Variety (12,700) on 09 Sep 2021

Dever is the best thing about this adaptation, which feels slightly less creepy in the lied-about-knowing-your-brother-to-worm-my-way-into-your-heart…

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Review of Queenpins (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 09 Sep 2021

Queenpins might have been a snappy little comedy had it lost 20 minutes and found a point beyond glorifying grand larceny…

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Review of The Card Counter (2021)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 09 Sep 2021

Scene by scene, it pulls us into a world that coheres not just through plotting and dialogue, but through the sharp rhythms of Benjamin Rodriguez…

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Review of Come from Away (2021)

By Alonso Duralde (1,351) for TheWrap (3,203) on 09 Sep 2021

There are, of course, countless prisms through which to examine the events of 9/11 and their lingering impact, but Come From Away offers one…

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Review of Fauci (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 09 Sep 2021

Where the filmmakers’ approach sets itself apart in these days of image-massaged biographies is in juxtaposing the bookending health catastrophes…

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Review of Queenpins (2021)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 09 Sep 2021

Queenpins does nothing other than waste your time with bad wigs and poop jokes, and that is the biggest crime of all…

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Review of Dear Evan Hansen (2021)

By Michael Rechtshaffen (1,086) for The Hollywood Reporter (7,050) on 09 Sep 2021

A weakness for the formulaic, combined with a noticeably weighty running time, continually bumps up against the film’s many fine points…

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Review of Come from Away (2021)

By Brian Lowry (913) for CNN (497) on 09 Sep 2021

Much like Hamilton on Disney+,Come From Away delivers a best-seat-in-the-house view, offering a moving, brilliantly shot and staged spectacle…

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Review of The Duke (2021)

By Chris Barsanti (896) for Slant Magazine (8,298) on 09 Sep 2021

The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection that so…

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Review of Martyrs Lane (2022)

By Jared Mobarak (867) for The Film Stage (3,162) on 09 Sep 2021

I think Gough’s performance is easy to discount because she’s often seen in the background, but she delivers an unforgettable descent into…

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Review of Dating & New York (2021)

By Ben Kenigsberg (863) for The New York Times (9,847) on 09 Sep 2021

A winning cast helps sell that familiar premise — not just Reale and Young-White, who have definite chemistry and an easy-flowing banter,…

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