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August 11, 2022 -
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Review: ‘Cult of the Lamb’ is ‘Don’t Starve’ meets ‘The Binding of Isaac’
August 10, 2022 -
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August 10, 2022 -
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Review: ‘Five Days at Memorial’ packs more than a dramatic punch
August 7, 2022 -
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August 6, 2022 -
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Review: ‘Bodies Bodies Bodies’ is a bloody, fun ride
August 5, 2022 -
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Review: ‘Digimon Survive’ is the best visual novel experience that fans didn’t ask for
August 4, 2022 -
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Review: ‘Bullet Train’ is all over the place, but that’s kind of the point
August 3, 2022 -
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Review: ‘DC League of Super-Pets’ never soars, but is still a good boy
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Review: ‘Paper Girls’ could be the latest bingeable sci-fi streaming favorite
July 29, 2022
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Review: ‘Honor Society’ is pure John Hughes for a new generation
July 28, 2022 -
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July 25, 2022 -
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Review: ‘NOPE’ is an ambitious, awe-inducing nightmare
July 25, 2022 -
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Review: ‘Klonoa Phantasy Reverie Series’ is a nostalgic throwback that could’ve used an extra layer of new paint
July 21, 2022 -
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Review: ‘Not Okay’ drives a razor-sharp stake through the heart of influencer culture
July 20, 2022 -
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Review: ‘The Gray Man’ is Netflix’s latest reliably solid but frustratingly unspectacular blockbuster
July 19, 2022 -
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Review: ‘Alone Together’ is a poignant pandemic drama with real heart
July 19, 2022 -
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Review: ‘Stray’ is the best cyberpunk game in recent memory
July 18, 2022 -
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Review: ‘The Rehearsal’ might be Nathan Fielder’s most demented social experiment yet
July 18, 2022 -
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Review: ‘Monster Hunter Rise: Sunbreak’ fine-tunes an already great game
July 18, 2022 -
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Review: ‘Light & Magic’ looks to inspire a new generation of filmmakers
July 18, 2022 -
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Review: ‘Persuasion’ is more than a disaster – it’s an insult to audiences
July 18, 2022
