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Arthur the King



These are very different modes of storytelling, obviously, and the simple trick of director Simon Cellan Jones is to embrace the inherent strengths of both.


One Life



The movie has a foundational narrative issue, and that's simply how little our main character has to do in and with about half of the story here.


Knox Goes Away



As a thriller, the movie doesn't function, because it intentionally keeps far too much information from us.


Snack Shack



Such little details feel authentic, but the bigger ones here are either too contrived or clichéd to seem as genuine.


Uproar



Uproar is a smart and considerate film about one young man's personal and political awakenings.


Irish Wish



The movie is in such a rush to hit every imaginable cliché that it downplays the potentially thorny and funny idea at its center.


French Girl



French Girl is a pitiful excuse for a comedy that's made even worse by the off-putting character around whom it revolves.


Frida



Another perspective or set of perspectives might have opened up Frida and its primary subject to a deeper examination.


The Animal Kingdom



The Animal Kingdom takes an admirably grounded but disappointingly shallow approach to its science-fiction premise.


Club Zero



It's just thin and repetitive in terms of its single joke.


Love Lies Bleeding



It's a fun throwback with an admirably streamlined plot that depends entirely on characters doing what they think they need to do—no matter how bad an idea those actions may be.


The American Society of Magical Negroes



Libii really does seem to lose the bite and, by the end, the point of those deeper issues.

 

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Coming Soon

Road House Ghostbusters: Frozen Empire Immaculate Late Night with the Devil Shirley Sleeping Dogs


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