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Review of The Protégé (2021)

By Bill Goodykoontz (2,123) for Arizona Republic (3,909) on 19 Aug 2021

The Protégé has so many cool elements, so many reasons that it should be better than it is…

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Review of Reminiscence (2021)

By Manohla Dargis (1,909) for The New York Times (9,847) on 19 Aug 2021

Highfalutin, lightly enjoyable mush, Reminiscence is one of those speculative fictions that are at once undernourished and overcooked…

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Review of Demonic (2021)

By Manohla Dargis (1,909) for The New York Times (9,847) on 19 Aug 2021

Flat acting, risible dialogue, a witless story — sometimes when a movie hits this trifecta so completely, it engenders a feeling of disreputable…

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Review of Cryptozoo (2021)

By Noel Murray (1,901) for The A.V. Club (5,644) on 19 Aug 2021

Cryptozoo isn’t a total whiff. It’s a thoughtful and well-intended project, made by some talented people…

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Review of Ailey (2021)

By Moira Macdonald (1,892) for The Seattle Times (964) on 19 Aug 2021

In the film, we’re able to see Ailey during the Kennedy Center honors, watching intently as “Revelations” is performed; he looks like…

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Review of PAW Patrol: The Movie (2021)

By Glenn Kenny (1,728) for The New York Times (9,847) on 19 Aug 2021

Yes, the computer-generated colors, overseen by the director Cal Brunker, are bright, the pups have soulful eyes . . . and the story line…

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Review of Under the Volcano (2021)

By Glenn Kenny (1,728) for The New York Times (9,847) on 19 Aug 2021

Almost 40 years later, it’s hilarious to see Stewart Copeland speak of Sting with still-fresh feelings of exasperation, irritation and admiration…

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Review of The Protégé (2021)

By Michael O'sullivan (1,712) for Washington Post (9,851) on 19 Aug 2021

The Protege may not rise to the level of art, but like Anna herself, it does demonstrate a mastery of a certain set of skills, however limited…

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Review of The Night House (2021)

By Brian Tallerico (1,600) for RogerEbert.com (5,563) on 19 Aug 2021

The sounds that go bump in the night, the wet footprints on a dock when no one else should be there, the writing in the fog on a shower mirror—these…

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Review of Flag Day (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 19 Aug 2021

Penn gives him a vivid, wheedling desperation that’s weirdly moving, and the younger Penn has clearly inherited the emotional expressiveness…

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Review of The Protégé (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 19 Aug 2021

Kudos to Q, though, for a performance anchored in classy disdain for the baloney around her…

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Review of The Night House (2021)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 19 Aug 2021

As the screenplay teases natural explanations for these sinister goings-on — Extreme grief? Nightmares? Mental illness…

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Review of Cryptozoo (2021)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 19 Aug 2021

Page by page, frame by frame, it seeks to cultivate your wonder and awaken your outrage, to spin a work of unbridled fantasy into a depressingly…

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Review of The Night House (2021)

By Justin Chang (1,535) for Los Angeles Times (12,977) on 19 Aug 2021

The director, David Bruckner, doesn’t just mindlessly apply the electrodes; even when he jars you to attention, he always seems to be drawing…

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Review of The Night House (2021)

By Rex Reed (1,506) for Observer (1,042) on 19 Aug 2021

Unfortunately, it’s a fairly unimaginative, largely unconvincing, often dull and always predictable example of the genre with few thrills…

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Review of The Meaning of Hitler (2021)

By John Anderson (1,358) for Wall Street Journal (3,071) on 19 Aug 2021

This ambitious and mutedly angry film also assumes an ironic tone in examining the Hitler phenomenon from angles political, sociological, psychological…

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Review of The Protégé (2021)

By John Defore (1,351) for The Hollywood Reporter (7,050) on 19 Aug 2021

Sans a compelling marriage of danger and eroticism, much of the third-act suspense fails to captivate…

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Review of Flag Day (2021)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 19 Aug 2021

As it stretches out, it also thins, its Malick-meets-Cassavetes ambitions never rising above clichés of technique and melodrama…

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Review of Reminiscence (2021)

By Katie Walsh (1,279) for Los Angeles Times (12,977) on 19 Aug 2021

The modern noir style and genre innovation are such a neat cinematic twist that it’s a bit of a letdown that the world doesn’t always feel…

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Review of The Protégé (2021)

By David Ehrlich (1,229) for IndieWire (3,631) on 19 Aug 2021

The Protégé never even begins to cohere as a story about paying for old sins (the ending is a “huh” of the highest order), and its ostensible…

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