|
|
53%
|
Albert Nobbs (2012) |
"
What you feel, watching Close, is not that you are watching gender being bent into new, absorbing shapes but that you might as well have stayed home and leafed through a book on Magritte."
—
New Yorker
Posted Jan 30, 2012
|
|
|
13%
|
W.E. (2012) |
"
What on earth is the point of a Madonna product, in any medium, if it contains not a single orgy?"
—
New Yorker
Posted Jan 30, 2012
|
|
|
93%
|
Coriolanus (2011) |
"
What remains, in distilled form, is the poetry of violence and contempt-the source of the play's unfailing reputation for political threat and mischief."
—
New Yorker
Posted Jan 23, 2012
|
|
|
77%
|
The Hunter (2012) |
"
If you find it convenient to think of Iran more as a bad dream than as a perceptible place, this is the film for you."
—
New Yorker
Posted Jan 4, 2012
|
|
|
99%
|
A Separation (2011) |
"
The miracle of A Separation is that it doesn't spare any of its characters, nor does it seek to indict them. It is a democratic portrait of a theocratic world."
—
New Yorker
Posted Jan 4, 2012
|
|
|
95%
|
Pina (2011) |
"
The question is, What do you get from Pina that you could not get from watching the Tanztheater live? Answer: More than you could possibly believe."
—
New Yorker
Posted Dec 13, 2011
|
|
|
71%
|
Carnage (2011) |
"
Not even Polanski can find grit in its silly provocations."
—
New Yorker
Posted Dec 13, 2011
|
|
|
84%
|
Tinker Tailor Soldier Spy (2011) |
"
Something in the drama has been dulled, and I was almost bored."
—
New Yorker
Posted Dec 5, 2011
|
|
|
50%
|
Sleeping Beauty (2011) |
"
To be at once earthy and ethereal is an uncommon gift. I noticed it, in Browning..."
—
New Yorker
Posted Nov 28, 2011
|
|
|
80%
|
Shame (2011) |
"
Fassbender, who was, frankly, much sexier and more devilish in "X-Men: First Class," is required to spend much of his time staring with blank intensity into the middle distance."
—
New Yorker
Posted Nov 28, 2011
|
|
|
97%
|
The Artist (2011) |
"
What Hazanavicius has wrought is damnably clever, but not cute; less like an arch conceit and more like the needle-sharp recollection of a dream."
—
New Yorker
Posted Nov 20, 2011
|
|
|
90%
|
The Descendants (2011) |
"
The latest exhibit in Payne's careful dissection of the beached male, which runs from Matthew Broderick's character in "Election" to Jack Nicholson's in "About Schmidt" and Paul Giamatti's in "Sideways.""
—
New Yorker
Posted Nov 20, 2011
|
|
|
78%
|
Melancholia (2011) |
"
Von Trier's latest fable is nothing without its blaze of majesty -- or, as his detractors would say, its bombast."
—
New Yorker
Posted Oct 31, 2011
|
|
|
68%
|
Tower Heist (2011) |
"
Toss everything you can find, starting with roughly diced plots, into the blender, press "Pulse," and pray: such appears to be the method behind "Tower Heist.""
—
New Yorker
Posted Oct 31, 2011
|
|
|
90%
|
Martha Marcy May Marlene (2011) |
"
Like [Michael] Haneke, Durkin -- remarkably, making his first feature -- specializes not in apocalyptic grandeur but in the creak and the tinkle of the uncanny. "
—
New Yorker
Posted Oct 17, 2011
|
|
|
85%
|
The Ides of March (2011) |
"
This film is full of great actors, but not enough people."
—
New Yorker
Posted Oct 3, 2011
|
|
|
93%
|
Drive (2011) |
"
In grabbing our attention, [Refn] diverts it from what matters. The horror lingers and seeps; the feelings are sponged away."
—
New Yorker
Posted Sep 20, 2011
|
|
|
76%
|
The Debt (2011) |
"
There is an awkward, irresoluble tension between the movie's urge to thrill and the weighty pull of the historical obligations that it seeks to assume. How much, to be blunt, should we be enjoying ourselves?"
—
New Yorker
Posted Sep 6, 2011
|
|
|
71%
|
Gainsbourg: A Heroic Life (2011) |
"
A lively bout between bio-pic and fairy tale."
—
New Yorker
Posted Sep 6, 2011
|
|
|
81%
|
Higher Ground (2011) |
"
The crucial thing about Higher Ground is that it takes at face value the faces, many bearded, almost all beatific, that the camera surveys -- quite an achievement, given Hollywood's woeful record in the dramatizing of faith."
—
New Yorker
Posted Aug 30, 2011
|
|
—
|
——
|
Warren Miller's Higher Ground () |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
20%
|
Street Fighter: The Legend of Chun-Li (2009) |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
39%
|
Due Date (2010) |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
92%
|
Another Year (2010) |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
73%
|
Mei loi ging chaat (Future X-Cops) (2010) |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
43%
|
You yi tian (One Day) (2010) |
—
New Yorker
Posted Aug 24, 2011
|
|
—
|
79%
|
Road To Nowhere (2011) |
—
New Yorker
Posted Aug 24, 2011
|
|
|
92%
|
Senna (2011) |
"
It's stripped of narration, talking heads, and anything else that might threaten to slow it down."
—
New Yorker
Posted Aug 22, 2011
|
|
|
64%
|
Another Earth (2011) |
"
Anyone who can explain the final shot deserves a refund."
—
New Yorker
Posted Aug 8, 2011
|
|
|
44%
|
Cowboys & Aliens (2011) |
"
Takes itself much too seriously, with acts of brutality outnumbering the gags."
—
New Yorker
Posted Aug 8, 2011
|
|
|
71%
|
The Future (2011) |
"
The notion that both this movie and "Battle: Los Angeles" could come out of the same place, in the same year, is a startling tribute to the city."
—
New Yorker
Posted Aug 8, 2011
|
|
|
35%
|
Transformers: Dark of the Moon (2011) |
"
The third outing for a herd of toys that should have stayed in their boxes."
—
New Yorker
Posted Jul 18, 2011
|
|
|
34%
|
Larry Crowne (2011) |
"
To pluck romantic comedy from the jaws of a social crisis is a laudable project, worthy of Preston Sturges, and it's a pity that this featherlight drama-written by Tom Hanks and Nia Vardalos, and directed by Hanks himself-should falter in its task."
—
New Yorker
Posted Jul 18, 2011
|
|
|
74%
|
The Names of Love (2011) |
"
Leclerc pays such lavish homage, in the construction of his film, to golden-age Allen; the moments at which a bewildered Arthur consults his teen-age self could have come straight out of "Annie Hall.""
—
New Yorker
Posted Jun 27, 2011
|
|
|
86%
|
Terri (2011) |
"
"Terri" works, not least because, against expectation, it is a beautiful movie to look at, with an enchanted sense of place."
—
New Yorker
Posted Jun 27, 2011
|
|
|
44%
|
Bad Teacher (2011) |
"
If you can see past the dismal sexual politics of "Bad Teacher," which I couldn't, you might applaud the gall of a film that expends so little effort in forcing us to like its central character."
—
New Yorker
Posted Jun 27, 2011
|
|
|
89%
|
The Trip (2011) |
"
The joy of this small, unimportant contest is weirdly addictive; you come out of the film as if from a concert, playing the music of false voices in your head."
—
New Yorker
Posted Jun 27, 2011
|
|
|
84%
|
The Tree of Life (2011) |
"
Amid one's exasperation, there is no mistaking Malick's unfailing ability to grab at glories on the fly."
—
New Yorker
Posted May 24, 2011
|
|
|
77%
|
Thor (2011) |
"
There is pleasure to be plundered from some of the battle scenes, especially when Thor is confronting ice monsters with blood-red eyes, and from the culture clash that resounds when he descends to present-day Earth..."
—
New Yorker
Posted May 16, 2011
|
|
|
75%
|
Everything Must Go (2011) |
"
The result is a sad suburban pastoral, a strain of film you don't see much of, or not enough; it may feel somewhat stretched, and Rush's additions to Carver barely push it past ninety minutes, but anything hectic or hasty would have spoiled the mood."
—
New Yorker
Posted May 11, 2011
|
|
|
95%
|
The Arbor (2011) |
"
Barnard's boldest move is to unveil the irresponsible chaos of the playwright's private life, and to make us wonder if the art was worth the suffering, after all."
—
New Yorker
Posted May 2, 2011
|
|
|
96%
|
Cave of Forgotten Dreams (2011) |
"
Herzog's voiceover is, as always, more entertaining than most film soundtracks. The film has a touch of that gray fuzz which still afflicts 3-D, but the Chauvet cave is a perfect candidate for such technology, because it stashes its secrets in a recess."
—
New Yorker
Posted May 2, 2011
|
|
|
56%
|
The Conspirator (2011) |
"
It's hard not to like McAvoy, with his glancing nervous energy, but The Conspirator rarely permits him to be anything except likable, and the script smooths out any wrinkles in the figure of Aiken."
—
New Yorker
Posted Apr 13, 2011
|
|
|
77%
|
In A Better World (2011) |
"
Veers perilously close to the programmatic, ever more so as the plot proceeds, and there are scenes where we seem to be observing a moral demonstration as much as a drama; yet the movie does retain grip and grace..."
—
New Yorker
Posted Apr 4, 2011
|
|
|
47%
|
Super (2011) |
"
The spectacle soon wearies and repels."
—
New Yorker
Posted Apr 4, 2011
|
|
|
35%
|
Battle: Los Angeles (2011) |
"
If the talk had been surgically removed, leaving only the sights and sounds of combat, this could have been a striking, semiabstract display of aggressive energy; as it is, any viewer over twelve will go for the laughs."
—
New Yorker
Posted Mar 21, 2011
|
|
|
71%
|
Paul (2011) |
"
What happened here?"
—
New Yorker
Posted Mar 15, 2011
|
|
|
86%
|
Cedar Rapids (2011) |
"
These folk are undistinguished yet distinctive, and the film, for all the familiar grind of its plotting, pays them their honest due."
—
New Yorker
Posted Feb 28, 2011
|
|
|
93%
|
Of Gods and Men (2011) |
"
The climax is both misty and unforgettable: a sacrifice that looks like a ghost story."
—
New Yorker
Posted Feb 28, 2011
|
