All articles by Tim Grierson, Senior US Critic – Page 27
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Reviews
‘Mulan’: Review
Long delayed, much anticipated, Disney’s live-action epic is now going directly into homes
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Reviews
‘I’m Thinking Of Ending Things’: Review
Charlie Kaufman’s Netflix film is ’an adventurous study of depression and anxiety that also makes room for a musical number’
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Reviews
‘Come True’: Fantasia Review
Anthony Scott Burns impresses with his follow-up to ‘Our House’
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Reviews
‘You Cannot Kill David Arquette’: Fantasia Review
The former ‘Scream’ star tries to make a comeback - in the professional wrestling ring
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Reviews
‘12 Hour Shift’: Fantasia Review
Angela Bettis must hunt for a kidney before she loses her own in this bloody genre meld
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Reviews
‘Hunted’: Fantasia Review
A genre exercise with some added topspin could be a breakout midnight crowdpleaser
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Reviews
‘Rising Phoenix’: Review
A rousing glimpse behind the scenes of the Paralympic Games from Netflix
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Reviews
‘Small Town Wisconsin’: Sarajevo Review
Alexander Payne executive produces this small, gentle story about a boy and his troubled father
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Reviews
‘Project Power’: Review
A knowingly cheesy action film from Netflix is boosted by the starpower of Jamie Foxx and Joseph Gordon-Levitt
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Reviews
‘Acasa, My Home’: Review
Sundance prizewinner follows a sprawling Romanian family’s forced move from the wilderness to the big city
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Reviews
‘An American Pickle’: Review
Gentle comedy from Seth Rogen goes theatrical in Europe for Warner Bros while streaming on its HBO Max service in the US
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Reviews
‘Southern Journey’ (Revisited): Sheffield Doc/Fest
Two British documentarians retrace the road taken by Alan Lomax and shirley Collins in 1959
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Reviews
‘Faith And Branko’: Sheffield Doc/Fest Review
A portrait of a personal and professional marriage between two wildly-different musicians
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Reviews
‘The Prophet And The Space Aliens’: Thessaloniki Review
Yoav Shamir delivers a thoughtful documentary about a guru who believes in UFOs
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Reviews
‘A Machine To Live In’: Visions du Réel Review
Brasilia, through the highly-subjective lens of Yoni Goldstein and Meredith Zielke