Exhibition on Screen: Dawn of Impressionism - Paris 1874 (2025)
“Ray’s film is imperfect, limited in scope and largely static in form, but is also a far more rewarding visual text than most documentaries hitting both streaming platforms and theaters, the assembly-lined and carefully composed alike.” –
In Review Online
Apr 3, 2025
Full Review
Heart Eyes (2025)
81%
“Heart Eyes does not shy away from reference or established playbook, both to its benefit and detriment.” –
In Review Online
Feb 28, 2025
Full Review
Family Pack (2024)
“Unabashedly [takes] a page out of Jumanji’s book, only missing most of that page — to say Uzan’s film is lighter than whipped cream doesn’t quite convey the absolute nothing going on here. To say Junamji seems Kubrickian by contrast gets you closer.” –
In Review Online
Nov 9, 2024
Full Review
Exhibiting Forgiveness (2024)
95%
“A work blessedly untainted by the flattened emotional palette so typically employed in dramatic narrative cinema, and one that also asserts its essential, nuanced understanding of film as a visual language. There’s nothing to forgive here.” –
In Review Online
Nov 8, 2024
Full Review
Rez Ball (2024)
94%
“It’s unclear if this is Netflix house style pressing down too hard upon the project or simply misguided and underdeveloped conceptualization on the part of the filmmakers.” –
In Review Online
Oct 3, 2024
Full Review
Uglies (2024)
16%
“All Uglies offers is the blandest of body positivity and self-love messaging, devoid of any of the camp, romance, or visual spectacle that make such tween-facing, platitudinous films palatable in any measure.” –
In Review Online
Sep 20, 2024
Full Review
Holding Back the Tide (2023)
“Only a fool would prefer a lecture, and if [it]’s greatest sin is that it leverages its aesthetic framework toward overly ornamental ends, its experimental and experiential virtues are still far too rare in documentary cinema’s increasingly literal world.” –
In Review Online
Sep 9, 2024
Full Review
The Deliverance (2024)
34%
“Daniels’ baroque approach to drama translates nicely to a horror framework. It’s unfortunate, then, that the specifics of the possession subgenre prove a trickier task for the director.” –
In Review Online
Sep 6, 2024
Full Review
#AMFAD: All My Friends Are Dead (2024)
50%
“Derivation in and of itself isn’t necessarily a fatal flaw, or even a real concern if an artist properly osmotes influence and proves adept... Dunston has no such ambition, instead merely drowning his film in references and tropes.” –
In Review Online
Aug 16, 2024
Full Review
Hell Hole (2024)
84%
“Hell Hole isn’t much more than a slightly spunky but otherwise run-of-the-mill “delved too deep” horror effort — gleefully gooey, inclined toward bodily obliteration, but far more of an outline than a final product.” –
In Review Online
Aug 7, 2024
Full Review
Mothers' Instinct (2024)
52%
“It’s all enough to make it truly difficult to understand what drew these actors to the project — given the pedigree, this is clearly not the movie they thought they were making.” –
In Review Online
Jul 29, 2024
Full Review
Jazzy (2024)
95%
“Maltz here understands the intuitive ways we know childhood to belong to a before that all we endeavor to preserve, and mostly thrives at communicating that essential romance. ” –
In Review Online
Jun 19, 2024
Full Review
The Damned (2024)
65%
“Much of the dialogue, in aggregate, can feel too self-consciously designed in service of the film’s thematic intent... But Minervini affectingly undercuts any sense of contrivance through the poetry of his aesthetic...” –
In Review Online
May 30, 2024
Full Review
Turtles All the Way Down (2024)
86%
“There’s no denying that Turtles All the Way Down is still in some measure a gift amidst our bathetic era of YA-facing art, but it's still fair to wish for something better than the cinematic equivalent of a blanket: comfortable, functional, underwhelming.” –
In Review Online
May 17, 2024
Full Review
Tiger (2024)
88%
“Few favors are done by [Disneynature's] homogenous house style, which flattens all potential for complex zoologic, ecologic, and morally philosophic inquiry into… well, cartoon territory. ” –
In Review Online
May 3, 2024
Full Review
The Death Tour (2024)
88%
“What’s abundantly clear is that this is all close to the wrestlers’ hearts and their human decency is distinctly felt, but The Death Tour itself lacks a cogent perspective or thesis to elevate the film above mere tour to others’ miseries. ” –
In Review Online
Apr 14, 2024
Full Review
The Shepherd (2023)
“In the absence of any technical bravura and emotional foundation, The Shepherd lives and dies according to its supernatural tilt, which is met with baffling incuriosity; it’s the movie equivalent of an affectless monotone.” –
In Review Online
Dec 25, 2023
Full Review
Candy Cane Lane (2023)
46%
“[The film] is so anonymous as a festive offering — a prefab assemblage of holiday parts at best, A.I. spittle at worst — that there’s no room for any directorial signature at all, despite the outrageously bloated (for a Christmas movie) two-hour runtime. ” –
In Review Online
Dec 25, 2023
Full Review
The Hunger Games: The Ballad of Songbirds & Snakes (2023)
64%
“Viewers have already seen these narrative machinations and limited themes leeched for every ounce of meaning across the original series, but here we are again, chewing on the exact same discursive material like a cow with their cud. ” –
In Review Online
Nov 22, 2023
Full Review
Ever Deadly (2022)
89%
“There’s a great film that could be made about Tagaq, one that more elegantly centers her and her artistry within a larger socio-political discourse...[leveraging] the alternately primal and sensual viscerality of her work to more impressively filmic ends.” –
In Review Online
Nov 13, 2023
Full Review
Lousy Carter (2023)
71%
“Overfamiliarity notwithstanding, Byington makes the right decisions at nearly every juncture, the writing and performers dialed into the same cockeyed frequency.” –
In Review Online
Aug 16, 2023
Full Review
Medusa Deluxe (2022)
71%
“By the time the intrigue of the film’s niche setting recedes and its potential feels suitably squandered, we’re only a quarter of the way through, and from here Hardiman orchestrates a molasses-slow march to the finish.” –
In Review Online
Aug 16, 2023
Full Review
Red, White & Royal Blue (2023)
75%
“McQuiston’s novel is an all-vibes, sans-substance kind of work... Moving into the sphere of film rom-com brings a whole different set of rules, and within this context, Red, White & Royal Blue is purely minor league” –
In Review Online
Aug 10, 2023
Full Review
Nimona (2023)
92%
“It’s easy to see a film stickered with the [Netflix] name and take an immediately cynical stance, but perhaps given that track record in the world of animation, it shouldn’t be surprising that [Nimona is] visually appealing and technically accomplished.” –
In Review Online
Jul 3, 2023
Full Review
Lonely Castle in the Mirror (2022)
50%
“In an age where it feels like [AI]could... produce the same complexity of story arcs and depth of character psychology, it’s no good to turn our noses up at imperfect films that capture the imperfection of humanity in a way that doesn’t feel AI-generated.” –
In Review Online
Jul 3, 2023
Full Review
No Reviews Yet
Load More
Something went wrong.. try again
Continue with Google
>
