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Review of Ocean's Eleven (2001)

By Tyrone001 (1) on 31 Jan 2023

Really fun, but lost two points for Brad Pitt's wig, and some inexplicable details to the heist…

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Review of Ouija (2014)

By Livschwass (1) on 31 Jan 2023

Not a bad movie, cool concept but it could have been more freaky…

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Review of Pootie Tang (2001)

By Stinkysmeller (1) on 31 Jan 2023

This movie makes my pootie TANG. I would suck fifteen cocks if 1 of them were pootie tang's and the other 14 were homeless men with multiple stds…

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Review of Tall Girl 2 (2022)

By Johnathanofuk (1) on 31 Jan 2023

I haven't watched this movie but people think it's bad. Also it reminds me of my ex-wife…

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Review of Everything Everywhere All at Once (2022)

By Faizanrubina (1) on 31 Jan 2023

When I first watched Everything Everywhere All at Once, I thought it was one of the best movies I've ever seen…

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Review of Infinity Pool (2023)

By James Berardinelli (4,524) for ReelViews (4,523) on 30 Jan 2023

Like Possessor, Infinity Pool is challenging and eclectic but it’s not one of those pretentious movies that’s weird for weirdness’ sake…

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Review of To Leslie (2022)

By Peter Bradshaw (3,667) for The Guardian (2,969) on 30 Jan 2023

The ending of this film does not entirely measure up to the standard of tough realism set in the rest of the drama, but what a great performance…

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Review of Pamela, A Love Story (2023)

By Richard Roeper (2,737) for Chicago Sun-Times (7,580) on 30 Jan 2023

It would seem to be a tall task for director Ryan White (“Good Night Oppy”) to find a fresh way to tell the tale — but thanks in large…

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Review of Life Upside Down (2023)

By Richard Roeper (2,737) for Chicago Sun-Times (7,580) on 30 Jan 2023

I’m not sure there’s much more of an appetite for these inward-looking, COVID-set films anymore, but if you’re up for it, writer-director…

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Review of One Fine Morning (2022)

By Stephanie Zacharek (2,333) for Time (1,811) on 30 Jan 2023

This is a big movie served up in a surprisingly small, intimate package…

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Review of You Hurt My Feelings (2023)

By Stephanie Zacharek (2,333) for Time (1,811) on 30 Jan 2023

As a story about how New Yorkers get by, making marriages and family relationships work in one of the toughest cities of the world, it’s…

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Review of Baby Ruby (2023)

By Bill Goodykoontz (2,123) for Arizona Republic (3,909) on 30 Jan 2023

The film is a mad whirl of influencer phoniness, paranoia, imposter syndrome and parenting nightmares…

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Review of Maybe I Do (2023)

By Rex Reed (1,506) for Observer (1,042) on 30 Jan 2023

Talky, labored and lost in mediocrity, Maybe I Do is another sad example of what happens to seasoned pros when they hang around long enough…

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Review of You People (2023)

By Wendy Ide (1,500) for The Observer (UK) (826) on 30 Jan 2023

The first third of the picture is promising, if frequently excruciating. But the points are painfully laboured and the jokes run out of steam…

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Review of Plane (2023)

By Wendy Ide (1,500) for The Observer (UK) (826) on 30 Jan 2023

It may be big, brawling and somewhat inelegant in approach, but this Gerard Butler vehicle is an aviation fuel-powered good time…

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Review of Nostalgia (2023)

By Gary Goldstein (1,089) for Los Angeles Times (12,977) on 30 Jan 2023

If yielding to nostalgia often makes people recall a more affectionate and wistful version of what actually was, this stirring, evocative film…

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Review of One Fine Morning (2022)

By Bilge Ebiri (1,050) for New York Magazine (Vulture) (3,519) on 30 Jan 2023

This could have easily become a torrid, tear-jerking melodrama, but Hansen-Løve’s matter-of-fact approach to performance and incident allow…

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Review of The Fabelmans (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 30 Jan 2023

If you’re looking for a film that explains where the Spielbergian tropes you know and love came from, then The Fabelmans is for you…

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Review of passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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Review of Passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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