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Review of Space Jam: A New Legacy (2021)

By Metacriticonur (388) on 16 Jul 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 Pig (2021)

By K. Austin Collins (343) for Rolling Stone (4,035) on 16 Jul 2021

It’s a good-looking, well-acted movie with a solid kicker…

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Review of The Boys in Red Hats (2021)

By Robert Daniels (336) for RogerEbert.com (5,563) on 16 Jul 2021

The Boys in Red Hats is a necessary watch that elicits frustration by exposing our insular ideology with a raw aplomb…

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Review of Escape Room: Tournament of Champions (2021)

By Tropicaces (322) on 16 Jul 2021

This is lowkey becoming my guilty pleasure franchise. It’s a PG-13 Saw with bad acting and insane plots, but the puzzles are fun…

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Review of Amistad (1997)

By Habibiehakim (321) on 16 Jul 2021

Amistad isn't as powerful as Spielberg Schindler's List, but in terms of is own story, Spielberg's is still making it very very well done and…

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Review of Great White (2021)

By Andrew Barker (315) for Variety (12,700) on 16 Jul 2021

Though boasting a few adequate action sequences, and foregoing the more gonzo schlockiness of peer projects like The Meg and Shark Night, the…

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Review of Fear Street: 1666 (2021)

By Chris Evangelista (306) for Slashfilm (971) on 16 Jul 2021

Fear Street Part 3 is an absolute blast. But there’s tragic darkness prevailing here, as there has been through the previous entries…

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Review of France (2021)

By Boyd Van Hoeij (303) for The Hollywood Reporter (7,050) on 16 Jul 2021

Perhaps it is precisely Dumont’s point that satire and the real world have been converging for a long time, but this alone is not enough…

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Review of Red Rocket (2021)

By John Bleasdale (289) for CineVue (2,163) on 16 Jul 2021

Most importantly, Red Rocket is a humane comedy, a portrait of romantic douchebaggery and an America of flailing last chances…

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Review of France (2021)

By Xan Brooks (287) for The Guardian (2,969) on 16 Jul 2021

Dumont’s secular crisis-of-faith drama has much to say about the corrosive effect of our 24-hour news culture…

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Review of Vortex (2021)

By Xan Brooks (287) for The Guardian (2,969) on 16 Jul 2021

Noé’s extraordinary film unfolds as a tale of murmured terrors and nameless dread, creeping softly around a cramped Paris apartment like…

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Review of Vortex (2022)

By Xan Brooks (287) for The Guardian (2,969) on 16 Jul 2021

Noé’s extraordinary film unfolds as a tale of murmured terrors and nameless dread, creeping softly around a cramped Paris apartment like…

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Review of No Ordinary Man (2021)

By Carlos Aguilar (278) for RogerEbert.com (5,563) on 16 Jul 2021

Co-directors Aisling Chin-Yee and Chase Joynt exalt the professional and personal life of Jazz musician Billy Tipton in No Ordinary Man, and…

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Review of Blue Bayou (2021)

By Steve Pond (235) for TheWrap (3,203) on 16 Jul 2021

The melodrama can be effective at times, and there’s an admirable urgency with which it tackles significant issues in U.S. immigration policy…

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Review of Titane (2021)

By Nicholas Barber (220) for BBC (137) on 16 Jul 2021

Ducournau's beautiful, dark, twisted fantasy is a nightmarish yet mischievously comic barrage of sex, violence, lurid lighting and pounding…

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Review of Black Widow (2021)

By Lambo442 (171) on 16 Jul 2021

A pretty mediocre film with some good action and I did like the family reunion thing, that was funny…

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Review of Blue Bayou (2021)

By Pat Brown (171) for Slant Magazine (8,298) on 16 Jul 2021

The film’s evocative imagery doesn’t compensate for the story being told with such a heavy hand that it dulls, rather than sharpens, Justin…

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Review of Memoria (2021)

By Pat Brown (171) for Slant Magazine (8,298) on 16 Jul 2021

Again in a Apichatpong Weerasethakul film, we find spirits lurking behind the everyday world, but in Memoria, they might just be repressed…

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Review of City of God (2002)

By Aj_13 (170) on 16 Jul 2021

Violent and realistic…

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Review of Fear Street: 1666 (2021)

By Akshatmahajan (157) on 16 Jul 2021

Fear Street Part 3 was neither good nor bad. Like previous parts, this part also had more potential but Netflix missed the opportunity…

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