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      Rating Title | Year Author Quote
      Rimini (2022) Beatrice Loayza We know there’s great tragedy and ugliness behind the smoke and mirrors, but we watch in amusement nonetheless. Sinisterly, Seidl reminds us how easy it is to turn people into objects for the taking.
      Posted Mar 16, 2023
      Moving On (2022) A.O. Scott “Moving On” takes refuge in pleasantness, and in the easy charm of its stars. Who are... consistently enjoyable to watch. Which might be the problem.
      Posted Mar 16, 2023
      The Spirit of '45 (2013) Ben Kenigsberg There is a powerful historical case to be made here, but it requires engaging with nuance, not merely expressing conviction.
      Posted Mar 16, 2023
      B-
      Inside (2023) Amy Nicholson When boredom sets in, we’re offered the silence to contemplate our own definition of art as Nemo the criminal evolves into Nemo the creator.
      Posted Mar 16, 2023
      C-
      Shazam! Fury of the Gods (2023) Amy Nicholson It’s an ungainly mishmash of tones that comes together only in one bizarre, wonderful gag when a graying wizard barges into Billy’s erotic dream to deliver some very serious exposition with his head fused to Wonder Woman’s bronze-plated breasts.
      Posted Mar 16, 2023
      Money Shot: The Pornhub Story (2023) Natalia Winkelman Here is a documentary that casts a clear eye on the offenses of an industry driven by capitalism while never losing sight of the workers whose safety and success should be that profession’s number one priority.
      Posted Mar 16, 2023
      Boston Strangler (2023) Jeannette Catsoulis You don’t have to look further than the pedestrian title to guess that Matt Ruskin’s “Boston Strangler” is a spiritless affair.
      Posted Mar 16, 2023
      Drylongso (1998) Lisa Kennedy Smith braids politics, friendship and romance throughout “Drylongso.”
      Posted Mar 16, 2023
      Rodeo (2022) Beatrice Loayza For the most part the scattered script careens around various lackluster intrigues...
      Posted Mar 16, 2023
      Are You Lonesome Tonight? (2021) Austin Considine If the premise of “Lonesome” feels a little familiar, the director Wen Shipei still manages to keep us guessing.
      Posted Mar 16, 2023
      Pinball: The Man Who Saved the Game (2022) Glenn Kenny The movie strives for a knowing, amiable tone. It achieves a cutesy, slight one instead.
      Posted Mar 16, 2023
      Full River Red (2023) Brandon Yu The lighthearted tone poking through keeps it afloat, and suspends the viewer in mostly carefree entertainment for its two-and-a-half-hour running time.
      Posted Mar 16, 2023
      The Magician's Elephant (2023) Devika Girish In jazzing up the tale for the screen, Rogers sands down the somberness — Baltese is all fuzzy blues and pinks, with nary a trace of postwar grit — while turning up the silliness for gimmicky thrills.
      Posted Mar 16, 2023
      The Innocent (2022) Claire Shaffer A humanistic story wrapped in a fun, punchy exterior, much like the French synth-pop music throughout its soundtrack.
      Posted Mar 16, 2023
      Wildflower (2022) Teo Bugbee “Wildflower” is a nervy sit, a movie that eventually makes its way toward acceptance, but only after putting its disabled characters through the trial of dehumanizing questions.
      Posted Mar 16, 2023
      Boys on the Side (1995) Janet Maslin Despite ads that present it as a giddy romp, Boys on the Side actually proves to be a wistful romance, a sardonic comedy, a Thelma, Edna and Louise tale of sisterly solidarity, and finally a sad, wrenching story that brings Terms of Endearment to mind.
      Posted Mar 15, 2023
      Stonewalling (2022) Manohla Dargis "Stonewalling" is a tough-minded movie, but its heaviness never feels punishing because of the filmmakers' analytic compassion.
      Posted Mar 14, 2023
      The Dark Angel (1935) Andre Sennwald Lillian Hellman and Mordaunt Shairp have written a highly literate screen adaptation of Guy Bolton's play, skirting all the more obvious opportunities for tear-jerking and overemphasis, and telling the story with feeling and admirable good taste.
      Posted Mar 10, 2023
      Chang Can Dunk (2023) Calum Marsh If you know both the approximate value of a mint-condition Charizard Pokémon card and how to identify a pair of Nike Bruce Lee Kobe 5 Protos on sight, you’re sure to feel on solid footing.
      Posted Mar 10, 2023
      65 (2023) A.O. Scott Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise.
      Posted Mar 09, 2023
      99 Moons (2022) Claire Shaffer Gassmann clearly wants to explore the state of love and sexuality in the 2020s... but he succeeds only in conveying the pathologies of two people who can’t figure out what they want from each other.
      Posted Mar 09, 2023
      Punch (2022) Kyle Turner Flowing and keenly observant of its characters and setting, “Punch” swings above its weight class.
      Posted Mar 09, 2023
      Unicorn Wars (2022) Beatrice Loayza “Unicorn Wars” is forcefully provocative, trying too hard to push buttons at the cost of more nuanced explorations of masculinity and power.
      Posted Mar 09, 2023
      The Magic Flute (2022) Glenn Kenny In a way it’s kind of neat. In another way it’s kind of dopey. The movie toggles between those two states throughout. But the tunes are nice, and it is novel, one could say, to hear them sung in non-operatic modes.
      Posted Mar 09, 2023
      Rewind & Play (2022) Lisa Kennedy “Rewind & Play” dazzles because it is and will remain a wonder to witness Monk seemingly discovering his compositions again and again, his fingers conjuring, his right foot etching rhythms.
      Posted Mar 09, 2023
      Champions (2023) Ben Kenigsberg The dispiriting experience of watching “Champions” is slowly realizing that, notwithstanding an off-color line here or there, it’s exactly the sort of formulaic crowd-pleaser that just about anybody might have directed.
      Posted Mar 09, 2023
      Luther: The Fallen Sun (2023) Jeannette Catsoulis Lacking dialogue to deepen the characters or reinforce their motivations, “Luther: The Fallen Sun” whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac.
      Posted Mar 09, 2023
      Scream VI (2023) Jason Zinoman It’s tricky business balancing disturbing terror and jokey film criticism, and while this sequel occasionally pulls it off, the weight of obligations to the dictates of the franchise ultimately drags it down.
      Posted Mar 09, 2023
      The Light of Asia (1925) Mordaunt Hall Although the photography is poor, with peculiarly undesirable tinting, and the acting of little consequence, it is a picture that has some interesting episodes.
      Posted Mar 08, 2023
      Therapy Dogs (2022) Brandon Yu A raw, impressionistic portrait of high school as it’s happening. Or, at least, as it’s experienced by teenage boys in a Canadian suburb, in all their wayward hooliganism.
      Posted Mar 08, 2023
      One Sings, the Other Doesn't (1977) Vincent Canby [The film] has some good sequences in it, is beautifully acted by two actresses who are new to me, is handsomely composed but, at key moments, it's as phony as Soviet neo-realist art. It's of less interest as a movie than as a statement of position.
      Posted Mar 08, 2023
      Little Nemo: Adventures in Slumberland (1992) Stephen Holden As animated fairy tales go, Little Nemo is remarkable not only for the elegance of its pictorial design, but also for the calm benignity of its mood.
      Posted Mar 07, 2023
      Chris Rock: Selective Outrage (2023) Jason Zinoman In this special, Rock seemed more raw than usual, sloppier, cursing more often and less precisely. This was a side of him you hadn’t seen before.
      Posted Mar 06, 2023
      The Holly (2022) Nicolas Rapold Roberts emerges as a Shakespearean figure of forceful magnetism who fights mightily against being viewed as a walking metaphor for the Holly’s struggles.
      Posted Mar 04, 2023
      C+
      Blueback (2022) Amy Nicholson You can feel barnacles on the dialogue, like when a corporate bully (Erik Thomson) growls, “You and your mom really think you can stop this, don’t you?”
      Posted Mar 03, 2023
      What We Do Next (2022) Beatrice Loayza The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought.
      Posted Mar 02, 2023
      Palm Trees and Power Lines (2022) Manohla Dargis Ambitious, torpid, wildly overlong and frustratingly underdeveloped...
      Posted Mar 02, 2023
      Creed III (2023) Manohla Dargis Come for the boxing, yes — but bring plenty of hankies, too.
      Posted Mar 02, 2023
      Gods of Mexico (2022) Ben Kenigsberg This nominal portrait of people isn’t interested in what they have to say.
      Posted Mar 02, 2023
      La Civil (2021) A.O. Scott The demoralization that afflicts Cielo casts a shadow on the audience, whose capacity for compassion may reach its limit even before the full measure of her suffering has been taken.
      Posted Mar 02, 2023
      The Forger (2022) Natalia Winkelman Peren is clever to favor mischief against a backdrop of gloom, but in doing so she draws a frustrating distance between her subject and the audience.
      Posted Mar 02, 2023
      A Little White Lie (2023) Jeannette Catsoulis Hobbled by a lack of visual oomph or verbal sparkle, “A Little White Lie” pokes feebly at impostor syndrome and writerly insecurity.
      Posted Mar 02, 2023
      The Year Between (2022) Teo Bugbee This lived-in quality to the filmmaking supports equally relaxed performances from both veteran and emerging actors, making for an even-keeled and easy viewing experience.
      Posted Mar 02, 2023
      Sansón and Me (2022) Glenn Kenny The film is an unusually layered look at how the combination of privation, misplaced familial loyalty and just plain rotten luck can make the immigrant experience in America a nightmare.
      Posted Mar 02, 2023
      Operation Fortune: Ruse de guerre (2023) Brandon Yu The silly premise is one that a better Ritchie film could, with some charm, style and wit, have turned into a workable romp. But everything here is stuck on autopilot.
      Posted Mar 02, 2023
      Split at the Root (2022) Concepción de León “Split at the Root” is a powerful lens into the emotional plight of the thousands of immigrants who cross the border into the United States, the danger they are fleeing and the people trying to help them.
      Posted Mar 02, 2023
      Film, the Living Record of Our Memory (2021) Nicolas Rapold For a documentary largely about archives, it should be better organized, but its breathless profusion of information underscores the scale of the task at hand.
      Posted Feb 27, 2023
      Cocaine Bear (2023) Jason Zinoman “Cocaine Bear” too often feels like a one-joke movie, stretched thin.
      Posted Feb 24, 2023
      C
      We Have a Ghost (2023) Amy Nicholson A cheery kids comedy heavily syruped with pro-ghoul propaganda.
      Posted Feb 24, 2023
      God's Time (2022) Glenn Kenny What initially looks to be an amiably bouncy cinematic journey turns kind of pedestrian in distressingly little time.
      Posted Feb 23, 2023
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