Venice 2022: Master Gardener
Master Gardener is Schrader’s Cry Macho.
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
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
Venice 2022: White Noise
Baumbach has marked his first truly stunning visual component