Venice 2022: Pearl
Nearly perfect in its presentation and with a powerhouse performance by Goth, Pearl really only loses points because of its rushed nature.
Venice 2022: Copenhagen Cowboy
Copenhagen Cowboy is not as richly layered as Refn's longer Amazon Prime show, but it is way more fun and entertaining.
Venice 2022: The Whale
The Whale is one of the most empathic and less cynical films to come from the United States in recent years.
Venice 2022: Blonde
Blonde will be easily picked away by vultures that see this as another lifeless attempt to capitalize on a dead celebrity’s fame. That could not be further from the truth.
Venice 2022: The Son
The Son is a truly emotional film that will leave many speechless and teary-eyed by the end of it.
Venice 2022: The Eternal Daughter
Joanna Hogg has made another brilliant piece of cinema, with Tilda Swinton proving once again that she is one of the all-time greatest performers.
Venice 2022: Dead for a Dollar
Fans of Walter Hill might get a kick out of this homage that eerily rings as a final ride for the now-octogenarian director.
Venice 2022: Padre Pio
There is no joy in writing it, but Padre Pio is one of the weakest films Ferrara has made in his entire career.
Venice 2022: Don’t Worry Darling
Don’t Worry Darling is empty at the best of times.
Venice 2022: Monica
Monica is a film best enjoyed with as few spoilers as possible. It is, after all, a real film: one that can only be savored and enjoyed to the fullest if experienced.
Venice 2022: The Banshees of Inisherin
The Banshees of Inisherin is as good a dark comedy as they come nowadays.
Venice 2022: Beating Sun
While Beating Sun has an authentic and meaningful heart, the final package is lacking
Venice 2022: All the Beauty and the Bloodshed
All the Beauty and the Bloodshed cowers behind its emotional angle
Venice 2022: TÁR
An exceptional discourse on how good artists handle their bad habits
Summering
Summering embraces the highs and lows of childhood on screen unlike any other project in recent memory
They/Them
They/Them on the outside might seem like it has the potential to be a fun queer slasher, but the reality is sadly much darker
Venice 2022: Bones and All
Bones and All is a strong return to horror cinema for Luca Guadagnino, and Taylor Russell proves once again that she is one of the most fearless and captivating young performers working today.
Venice 2022: Un couple
Un couple is a feminist text through and through, and while it is undoubtedly slow to the point of boredom of many, it is a stark reminder that, sadly, topics like women’s rights and abuse from the patriarchy will never go away easily.
Venice 2022: Bardo, False Chronicle of A Handful of Truths
There are many scenes in Bardo that are truly brilliant and powerful, especially when it focuses on how easily a father can lose touch with his family because of his obsession with work, but its lack of focus and excessive runtime make it a trying viewing experience that would have benefited from losing an hour of fat.
Venice 2022: The Kingdom Exodus
Being able to finally see The Kingdom: Exodus in 2022 is nothing short of a miracle