Browse Movie Reviews - Page 959 of 258,691

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Review of The Quiet Girl (2022)

By Robert Abele (1,309) for Los Angeles Times (12,977) on 16 Dec 2022

The Quiet Girl is both the best reason movies should look to more compact narratives for adaptation and, in a few instances, indicative of…

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Review of Babylon (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 16 Dec 2022

It reminds us the movies have been dying for more than 100 years, and then — through its heart-bursting, endearingly galaxy-brained prayer…

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Review of Babylon (2022)

By David Ehrlich (1,229) for IndieWire (3,631) on 16 Dec 2022

It reminds us the movies have been dying for more than 100 years, and then — through its heart-bursting, endearingly galaxy-brained prayer…

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Review of Mindcage (2022)

By Brent Simon (1,142) for The A.V. Club (5,644) on 16 Dec 2022

The end result is a movie whose chief entertainment value may come from taking an inventory of the different ways its various characters pronounce…

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Review of Framing Agnes (2022)

By Gary Goldstein (1,089) for Los Angeles Times (12,977) on 16 Dec 2022

The docudrama Framing Agnes is a fascinating, multidimensional, mosaic-like glimpse at transgender life from the 1950s to today as interpreted…

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Review of Babylon (2022)

By Matt Donato (975) for IGN (1,013) on 16 Dec 2022

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged success stories, but most of all…

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Review of Babylon (2022)

By Matt Donato (975) for IGN (1,013) on 16 Dec 2022

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged success stories, but most of all…

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Review of Babylon (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 16 Dec 2022

Propelled by Justin Hurwitz’s unrelenting wall-of-sound score, it’s often electrifying, to be sure, and certainly impressive in terms of…

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Review of Babylon (2022)

By David Rooney (943) for The Hollywood Reporter (7,050) on 16 Dec 2022

Propelled by Justin Hurwitz’s unrelenting wall-of-sound score, it’s often electrifying, to be sure, and certainly impressive in terms of…

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Review of Babylon (2022)

By Keith Uhlich (870) for Slant Magazine (8,298) on 16 Dec 2022

[Chazelle’s] torturously glib cynicism is quite the attitude around which to build an epic boondoggle of this sort…

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Review of Babylon (2022)

By Keith Uhlich (870) for Slant Magazine (8,298) on 16 Dec 2022

[Chazelle’s] torturously glib cynicism is quite the attitude around which to build an epic boondoggle of this sort…

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Review of High Plains Drifter (1973)

By Alejandro970 (859) on 16 Dec 2022

Says the paradox: to save the just, you must make a pact with the Devil…

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Review of Babylon (2022)

By Jason Bailey (832) for The Playlist (3,871) on 16 Dec 2022

If nothing else, Babylon is a giant swing, a three-plus hour orgy (sometimes literally) of sex, drugs, and cinema, a respected young artist…

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Review of Babylon (2022)

By Jason Bailey (832) for The Playlist (3,871) on 16 Dec 2022

If nothing else, Babylon is a giant swing, a three-plus hour orgy (sometimes literally) of sex, drugs, and cinema, a respected young artist…

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Review of The Apology (2022)

By Tara Brady (805) for The Irish Times (483) on 16 Dec 2022

Working on a small budget, writer-director Alison Locke puts the confinement of one location in service of her claustrophobic script…

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Review of Nanny (2022)

By Brent_Marchant (762) on 16 Dec 2022

When it comes to making a movie (especially one in the suspense, thriller or horror genre), there’s a big difference between “nuanced”…

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Review of Babylon (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 16 Dec 2022

Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame…

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Review of Babylon (2022)

By Leah Greenblatt (734) for Entertainment Weekly (6,953) on 16 Dec 2022

Boogie had a dramatic throughline, and something genuinely unsettling to say about the strange soul-bargaining of fame…

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Review of Children of the Mist (2022)

By Guy Lodge (731) for Variety (12,700) on 16 Dec 2022

It’s an auspicious arrival for first-time feature director Diem, who handles delicate subject matter (not to mention vulnerable human subjects)…

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Review of The Apology (2022)

By Simon Abrams (730) for RogerEbert.com (5,563) on 16 Dec 2022

Watching The Apology, one gets the sense that Locke and her team got to tell the exact story they wanted to and on their terms…

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Page 959 of 258,691

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