“‘The End We Start From’ is a contained version of the violent, end-of-world tales we have grown accustomed to. In its quiet examination of a woman’s journey to motherhood, the questions that surround the subject are writ large on the story.”
“With all the surfaces of style, wit and entertainment stripped away, ‘The Palace’ lays the director’s ideology bare in all its unflinching bleakness and petty emptiness.”
“Kim mostly hits the mark with ‘Man on the Run,’ even if some of the Adam McKay-style filmmaking choices don’t land particularly well.”
“‘The Painter’ seems destined for Tubi, where it may indeed earn a fanbase. The film clearly sets up a sequel, so a second franchise installment might be more creatively ambitious, even if its existence on paper doesn’t feel earned.”
“With dashes of dark humor, unnerving tension and a striking lead performance centering it all, ‘The Teachers’ Lounge’ uncomfortably builds to claustrophobia in a real domino effect.”
“‘Case of the Naves Brothers’ is hardly in the annals of great Brazilian cinema, like the works of Rocha, but it absolutely deserves to be seen in the same breath.”
“General audiences can access and appreciate The Adams Family’s ‘Where the Devil Roams’ from various perspectives – the mark of an enduring film.”
“Grief is a quiet but unrelenting presence within ‘Inside Llewyn Davis’ that gradually reveals itself the more viewers learn about the death of Mike Timlin, the protagonist’s friend and singing partner.”
“By only fleetingly bringing attention to the economic hardships at play, ‘The Boys in the Boat’ frustratingly remains a niche proposition, of fascination only to fans of the film’s focal sport.”
“With its uneven pace and fragmented narrative, ‘Mean Streets’ would not have nearly the same impact without its soundtrack.”
“John Huston’s 1948 film ‘Key Largo’ is yet another classical Hollywood studio system film in which barely a single frame was shot on location.”
“A film drastically less than the sum of its parts, ‘Eileen’ commits the unfortunate blunder of continually reminding one of similar, better movies.”
“‘Napoleon’ is very much a repudiation and a revolt against history’s ‘Great Men.'”
“‘The Treasure of Foggy Mountain’ doesn’t match the quality of mid-level Adam Sandler comedies, but it just may work as a double-billing with Akiva Schaffer’s 2007 film ‘Hot Rod’ starring Andy Samberg…”
“‘Black White and the Greys’ isn’t defined by its political dialogue, but rather by its handling of the human condition. And it’s arguably one of the best COVID-themed movie productions since the similarly minimalist ‘Host’ (Shudder, 2020).”
“Ultimately, ‘The Killer’ is just a fun, pulpy romp that is more akin to the plug-and-play adventures of I.O. Interactive’s ‘Hitman’ series than a profound statement on the culture at large.”
“Powered by Radwan’s empathy and the subjects’ collective determination, ‘Tomorrow, Tomorrow, Tomorrow’ is a must-see world cinema documentary.”
“‘It’s a Wonderful Knife’ is watchable but slight. And considering how popular Hallmark Christmas movies continue to be, maybe that’s all horror fans will really expect.”
“‘Red Rooms’ provides a perfect recipe for isolation and alienation, encouraged by a media world around us that seeks only to capture attention and never thoughts.”
“Amies’ revelatory rock doc succeeds by exploring the sacred and profane aspects of the subject’s musical mentality.”