Reviews

Latest reviews from all era of film.

‘1917’ Review: Sam Mendes and Roger Deakins Deliver a Staggering Technical Achievement

‘Queen & Slim’ Review: Melina Matsoukas Amasses Love Through Struggle

‘Harley Quinn’ Review: Harley Moves Out of Joker’s Shadow

‘Instinct’ Review: An Excruciatingly Honest and Astonishing Exploration of Sexual Violence, Consent and Voyeurism

‘His Dark Materials’ Season 1, Episode 3 “The Spies” Review: Revelatory, Lavish, and Intimate

‘The Crown’ Season 3 Review: Netflix’s Dazzling Tiara has Lost its Shine

‘Charlie’s Angels’ Review: A Surprisingly Genuine Reboot

‘His Dark Materials’ Season 1, Episode 2 “The Idea of North” Review: An Exploration of the more Sinister Aspects of the Series

‘Midway’ Review: Roland Emmerich’s Hollow War Film Nosedives into Forgetfulness

‘Doctor Sleep’ Review: An Exploration of Trauma and Recovery

‘His Dark Materials’ Season 1, Episode 1 “Lyra’s Jordan” Review: A Bewitching First Installment

‘The Components of Love’ Review: A Familiar Examination of a Failing Relationship

‘Fanny Lye Deliver’d’ Review: Sex, Sin and the Seventeenth Century

‘Vivarium’ Review: Imogen Poots Shines In Otherwise Unremarkable Sci-Fi Satire

‘Rare Beasts’ Review: Billie Piper’s Directorial Debut Is a Deeply Flawed but Ambitious Look at Modern Love

‘Calm With Horses’ Review: A Seemingly Familiar Gangster Story Elevated by Cosmo Jarvis

‘Judy & Punch’ Review: Mirrah Foulke’s Fairy Tale Satire Is All Bark and No Bite

‘Bliss’ Review: A Punk Rock Rendition of the Vampire Archetype

‘She-Ra and the Princesses of Power’ Season 4 Review: Vulnerability and the Messiness of Being a Hero

‘Forman vs. Forman’ Review: Remembering A Distinguished Director

‘Greener Grass’ Review: Comic Duo Jocelyn DeBoer and Dawn Luebbe Highlight the Metallic Rictus of Bubbly Suburbia

‘Rattlesnake’ Review: Zak Hilditch Delivers a Strong Premise Devoid of Tension

‘Bacurau’ Review: A Poignant and Violent Tale of Resistance

‘The Whistlers’ Review: Catrinel Marlon Stands Out in this Attempt to Reinvent Neo-Noir

‘The Beach Bum Review’: Harmony Korine Revives the Spirit of America Cinema

‘Ordinary Love’ Review: Lesley Manville and Liam Neeson Create an Illusion of Love

‘Monsoon’ Review: A Pensive Exploration of Cultural Dislocation

‘Ema’ Review: Pablo Larraín Dazzles and Puzzles with a Dreamlike Seduction that Defies Expectation

‘The Painted Bird’: A Boy’s Relentless War Odyssey Puts Your Stomach to the Test

‘BoJack Horseman’ Season 6 Part 1 Review: The Final Season Kicks Off with Consequences and Contemplation

‘Ford v Ferrari’ Review: Toxic Masculinity at Its Most Fun, Vintage Bravado at Its Most Cinematic

‘Marriage Story’ Review: Noah Baumbach’s Moving Ode to Failed Love Is a Powerful Showcase for Adam Driver and Scarlett Johansson

Celluloid Dreams

‘Babyteeth’ Review: Shannon Murphy’s Debut Feature is a Bittersweet Embrace of Familial Dysfunction and Hope

‘White Riot’ Review: Rubika Shah’s Rip-Roaring Rock Doc Raises A Fist Against 20th Century Hate

‘Sibyl’ Review: Justine Triet’s Latest is a Beautiful Mess of Emotions

‘Little Monsters’ Review: Even Lupita Nyong’o is Not Enough to Bring this Lumbering Zombie Comedy to Life

Sony Pictures Releasing

‘A Beautiful Day in the Neighborhood’ Review: Tom Hanks Provides a Deeply Touching Window Into the Mind of Fred Rogers

‘Gemini Man’ Review: Ang Lee’s Ambitious Tech Demo Elevates an Otherwise Unremarkable Will Smith Action Movie

‘Saint Maud’ Review: Have Faith in Rose Glass’ Audacious Debut

‘The Aeronauts’ Review: Felicity Jones and Eddie Redmayne Reunite in a Victorian-Era Version of ‘Gravity’

A24

‘Uncut Gems’ Review: Adam Sandler Shows Us How He Wins in the Latest Manic Masterwork from the Safdie Brothers

‘First Cow’ Review: Kelly Reichardt Brings ‘Old Joy’ to the Old West

‘Varda by Agnès’ Review: A Final Film but Not a Farewell From the Matriarch of Cinema

‘Knives Out’ Review: Rian Johnson’s Latest Brings Clue to Life in a Whimsical Whodunit

‘Jojo Rabbit’ Review: An Anti-Hate Satire That Doesn’t Need the Satire

‘Fourteen’ Review: A Dialogue-Driven Portrait of Friendship Burdened by Depression

‘The Personal History of David Copperfield’ Review: Armando Iannucci’s Latest is a Sweet Affair Lacking in Substance

Netflix

‘The Two Popes’ Review: Anthony Hopkins and Jonathan Pryce Deliver a Thoughtful Meditation on Religion and Spirituality

‘The Report’ Review: Adam Driver and Annette Bening are Magnetic in Scott Z. Burn’s Latest C.I.A Drama

‘Joker’ Review: A Formidable Villain Within an Unworthy Narrative

Warner Bros. Pictures

‘Just Mercy’ Review: Michael B. Jordan and Jamie Foxx Command the Screen in a Sturdy but Generic Legal Drama

‘The King’ Review: A Split Kingdom of Competency and Mediocrity

‘Itsy Bitsy’ Review: A Creature Feature Full of Family Drama

MUBI UK

‘Zombi Child’ Review: Bertrand Bonello Explores the Horrors of Colonialism in an Ambitious, Frustrating Misfire

‘The Juniper Tree’ Review: Björk Beguiles in Her Bergman-esque Debut

‘Leap of Faith’ Review: Insights don’t come more entertaining than this

‘The Truth’ Review: Kore-eda’s Latest is a Soft Love Letter to Mothers and Daughters Everywhere

‘Proxima’ Review: Winocour’s Latest Subverts the Canon of the Traditional Space Film

‘The Irishman’ Review: Martin Scorsese’s Latest is a 209 Minute Epic Examining How the Desire for Complete Authority Rots a Man’s Existence

‘Workforce’ Review: Class Conflict Begets a Refreshingly Unpredictable Slow-Burn Fable

‘Waves’ Review: A24’s Latest Floridian Dreamscape Crashes Down on You Then Carries You Back to Shore

‘Deerskin’ Review: You Can Pull Off Any Look if You Try Hard Enough

‘Isabelle’ Review: An Uninspired Exploration of Grief and Ghosts

‘Atlantics’ Review: Mati Diop’s Feature Debut is More Than a Supernatural Romance

‘Coup 53’ Review: Amirani’s 53 ideas refuse to coalesce

‘The Politician’ Review: School Halls Become a Battleground in Ryan Murphy’s Tiresome Netflix Series

‘Waiting for the Barbarians’ Review: A Sleepy, Disappointing Adaptation

‘Motherless Brooklyn’ Review: Why Edward Norton Can’t Do Neo-noir

‘Ad Astra’ Review: Brad Pitt Soars in James Gray’s Powerful Exploration of Despair

‘Honey Boy’ Review: A Painfully Honest Take on Trauma

‘Monos’ Review: A Stirring Presentation of Child Warfare

‘Bombay Rose’ Review: A Beautiful Dish With Too Many Flavors

‘Hustlers’ Review: Lorene Scafaria’s Rousing Crime Epic Takes on American Inequality

‘Downton Abbey’ Review: A Glamorous Farewell to One of Television’s Finest

‘The Goldfinch’ Review: A Second-Rate Adaptation Better Suited for the Page

‘Chained for Life’ Review – An Original and Charming Film About How We Look at One Another

‘Bad Education’ Review: A Brilliant Look Into White Collar Crime

‘It: Chapter Two’ Review: Pennywise Returns for a Thrilling but Overstuffed Second Act

FrightFest 2019: ‘The Black String’ Review – Evil Is Skin Deep In Frankie Muniz’s Return to Acting

Locarno Film Festival: Ham on Rye Review – A Surreal Meditation on the Coming-of-Age Experience

FrightFest 2019: ‘A Good Woman Is Hard to Find’ Review – A Gritty, Realistic Revenge Thriller

FrightFest 2019: ‘Happy Face’ Review – An Exploration of the Person Behind The Face

FrightFest 2019: ‘Deadcon’ Review – A Modern Horror That Misses The Mark

FrightFest 2019: ‘The Perished’ Review – An Emotionally Charged Blend of Social Issues and Horror

FrightFest 2019: ‘Kindred Spirits’ Review – An Uncomfortable Psychological Thriller

FrightFest 2019: ‘Sadistic Intentions’ Review – A Slow Paced Horror That Lacks Excitement

FrightFest 2019: ‘I’ll Take Your Dead’ Review – An Original Heartfelt Horror

‘Tigers Are Not Afraid’ Review: A Dark Twist on the Typical Fairy Tale

‘Weathering With You’ Review: An Intoxicatingly Gorgeous Melodrama

‘The Dark Crystal: Age of Resistance’ Review: A Mythology-Filled Prequel that Embraces Hope and Darkness

‘Los Espookys’ Season 1 Review: Finding Authenticity in the Surreal

Netflix

‘Orange Is the New Black’ Season 7 Review: The Final Goodbye

‘Where’d You Go, Bernadette’ Review: A Tedious Glimpse at the Troubles of the Privileged

North Bend Film Fest 2019: ‘Villains’ Review – A Home Invasion Gone South

North Bend Film Fest 2019: ‘Feral’ Review – A Time Lapse of the Forgotten

North Bend Film Fest 2019: ‘Extra Ordinary’ Review – Tapping into Another State of Being

North Bend Film Fest 2019: ‘Koko-di Koko-da’ Review – A Reoccurring Nightmare Influenced by Folklore, Fables, and Grief

‘End of the Century Review’: A Powerful and Honest Gay Romance

‘The Kitchen’ Review: Ordering ‘Widows’, Ending Up with Stale Lunchables

‘Scary Stories to Tell in the Dark’ Review: A Thrilling, Impressive Gateway Into the Horror Genre