‘The Rider’ is a slow trot through broken dreams resolved by hope and friendship.
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‘The Rider’ is a slow trot through broken dreams resolved by hope and friendship.
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‘Return to Mount Kennedy’ simultaneously finds a way to relay an old story about American royalty while fleshing out one man’s journey to reinvent himself and reconcile the self-harvested demons of his past.
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The best—and worst thing—you can say about Solo: A Star Wars Story is that it is a fun throwback.
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Thematically inconsistent at times, there’s two portions of ‘Afghan Cycles’: both of them considerate, important, and very well made.
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‘Sadie’ is a film about a small community whose children are a litmus test for a bigger world moving in a dark direction.
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In ‘Disobedience’ two Rachels, Weisz and McAdams, find themselves in a forbidden romance that test their communities religious morals.
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‘The Russian Five’ is an engaging peek behind professional hockey’s iron curtain, and is stocked full of laughs, tears, blood, and stitches.
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A half-Woke fever-dream populated by big ideas and half-finished epiphanies, ‘Bodied’ is a bad film with a lot of good ideas.
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Housing the look, feel, and story beats of a noir mystery thriller, ‘Terminal’ fails to capture any of the magic or narrative elements that propel these stories to greatness.
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The Week Of is a messy patchwork of a movie that is tonally all over the map and way overstays its 116 minutes.
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A clumsy assemblage of characters and moments that flirt with authenticity and relevance, ‘Kings’ starring Halle Berry and Daniel Craig, has an idea of what it wants to be, yet can’t put the pieces together to make it work.
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For the first time in a long time, the road ahead for superheroes is murky, complicated, and terrifying.
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Opening Friday at Screenland at Tapcade, The Endless is an interesting and well-conceived psychological thriller with heart.
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In ‘Final Portrait’, Geoffrey Rush spends weeks getting the ideal job done, painting a dashing Armie Hammer in this otherwise underwhelming film.
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