A competent and technically proficient “who can you trust?” thriller, “I.S.S.” is a conflict movie in search of character.
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A competent and technically proficient “who can you trust?” thriller, “I.S.S.” is a conflict movie in search of character.
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‘American Fiction’ is a refutation of any kind of performative art that claims to serve something or someone without listening to them.
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‘Ferrari’ is a mixed bag of uneven performances arranged by a casting department without an atlas and a script without a compass.
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Cooper throws the whole bag of awards season tricks at the wall in ‘Maestro,’ sacrificing visual and thematic cohesion to the artistic shotgun approach.
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Haunting, stark, and honest in ways that movies rarely dare to be, ‘The Zone of Interest’ is as merciless as its featured characters.
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‘Rustin’ is a fitting, though sometimes uneven, tribute to a man more than worthy of some credit for his work behind history’s curtain.
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A fragment of a good idea burdened by a lack of company, ‘Screwdriver’ has only one storytelling move and little else to support even that.
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‘Divinity’ is an organized collision of bad choices and even worse execution.
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It looks good and is stocked with quality performances, yet nothing about She Came to Me comes across as relatable or actionable.
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An interesting idea with good intentions smothered by clichéd writing and sophomoric directing, Miranda’s Victim is a clinic in telling vs. showing.
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Crammed full of heart, genuine emotions, and the thrill of an underdog fighting to the top of the heap, Cassandro is ‘Rocky’ with glam and no gloves.
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‘Golda’ maneuvers through the personal, professional, spiritual, and historical to draw out the essence of a complicated and consequential world leader.
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‘Sympathy for the Devil’ is a straightforward mystery thriller boasting strong performances that mask an overall dearth of narrative depth.
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What pushes ‘Dead Man’s Hand’ from merely bad to bracingly awful is the film’s failure to connect with any trope, motif, or symbol of the Western genre in a meaningful way.
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‘Asteroid City’ is predictably heavy on style, surprisingly robust in substance, yet curiously short on structure and emotional impact.
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