|
|
87%
|
28 Days Later (2003) |
"
The picture is twitchy and annoying, flecked with blood and half-digested ideas, and too much is left unexplained."
—
New Yorker
Posted Oct 6, 2013
|
|
|
50%
|
Thanks For Sharing (2013) |
"
Be warned: viewers may experience a violent urge to shake the characters, one by one, and tell them to get a life."
—
New Yorker
Posted Sep 30, 2013
|
|
|
88%
|
Rush (2013) |
"
If you don't already know the story of that season, lucky you; even now, it exerts a ridiculous thrill."
—
New Yorker
Posted Sep 30, 2013
|
|
|
100%
|
Otona no miru ehon - Umarete wa mita keredo (I Was Born, But ) (Children of Tokyo) (1932) |
"
[I Was Born, But . . .] is a master class -- one of the [Ozu's] earliest -- in the art of distilling emotional intensity from quiet lives."
—
New Yorker
Posted Sep 23, 2013
|
|
|
98%
|
Wadjda (2013) |
"
This is not just the first feature by Haifaa Al Mansour but the first feature to be directed by a woman from Saudi Arabia. That is quite a burden, and yet by some miracle the movie bears it with lightness and grace."
—
New Yorker
Posted Sep 16, 2013
|
|
|
60%
|
Riddick (2013) |
"
David Twohy's film is scarcely original, but the sheer survivalist grind of our hero, against comical odds, becomes appealingly mad ..."
—
New Yorker
Posted Sep 16, 2013
|
|
|
93%
|
Philomena (2013) |
"
We prepared ourselves for an emotional explosion-not for physical violence, but for that of a bursting heart-and yet, when the time came, that is not what happened. Frears put the pin back in the grenade, as it were."
—
New Yorker
Posted Sep 13, 2013
|
|
|
31%
|
Austenland (2013) |
"
Everything rings false, and the spectacle of bad actors pretending to be bad actors may trouble your sleep for some time."
—
New Yorker
Posted Sep 2, 2013
|
|
|
100%
|
Vampyr - Der Traum des Allan Grey (1932) |
"
[The film conjures] inexplicable dread, on a night that feels brighter than day."
—
New Yorker
Posted Aug 21, 2013
|
|
|
84%
|
Prince Avalanche (2013) |
"
Rudd, in particular, gives it everything he's got, but he is vanquished by a story that feels both inconsequential and contrived."
—
New Yorker
Posted Aug 9, 2013
|
|
|
69%
|
The Wolverine (2013) |
"
It's a relief to come across a blockbuster that finds a location and stays there, rather than hopping desperately from one place to the next ..."
—
New Yorker
Posted Aug 9, 2013
|
|
|
94%
|
Hero (2004) |
"
The result is not so much a historical epic as a kind of highly determined ballet: dreamy with bloodless violence, relying less on shades of character than on magnificence of gesture."
—
New Yorker
Posted Aug 5, 2013
|
|
|
91%
|
Minority Report (2002) |
"
The worst thing about the new Steven Spielberg picture is the title, Minority Report. The best thing about it is pretty much everything else."
—
New Yorker
Posted Aug 5, 2013
|
|
|
93%
|
Our Children (2013) |
"
There is no whodunit here -- the horror is plain in the opening shots -- and the how is presented with great restraint, but the why remains veiled and mysterious long after the film has ended."
—
New Yorker
Posted Aug 5, 2013
|
|
|
68%
|
Elysium (2013) |
"
It hits you as fact; the director's fiercest gift is not to invent the future, as a plausible dream, but to report on it as if it already existed"
—
New Yorker
Posted Aug 5, 2013
|
|
|
92%
|
Insomnia (2002) |
"
A dark and fidgety picture from Christopher Nolan, who made such a splash with Memento."
—
New Yorker
Posted Aug 5, 2013
|
|
|
99%
|
Finding Nemo (2003) |
"
The latest flood of wizardry from Pixar, whose productions, from Toy Story onward, have lent an indispensable vigor and wit to the sagging art of mainstream animation."
—
New Yorker
Posted Aug 5, 2013
|
|
|
93%
|
Out of Sight (1998) |
"
After many mishaps, the art of bringing Elmore Leonard's novels to the screen is coming to fruition. This latest adaptation, by director Steven Soderbergh and screenwriter Scott Frank, gets it just about right."
—
New Yorker
Posted Aug 4, 2013
|
|
|
69%
|
Cliffhanger (1993) |
"
That rasping tension is soon smoothed away, as the plot sets off on its daft and hackneyed course."
—
New Yorker
Posted Aug 3, 2013
|
|
|
92%
|
Saving Private Ryan (1998) |
"
Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable."
—
New Yorker
Posted Aug 2, 2013
|
|
|
89%
|
The Bridges of Madison County (1995) |
"
The two leads' sly comic rhythm is miles removed from the book's failing solemnity."
—
New Yorker
Posted Jul 31, 2013
|
|
|
98%
|
Aliens (1986) |
"
Action thrillers assail but rarely test us; this is the tautest, most provoking, and altogether most draining example ever made."
—
New Yorker
Posted Jul 30, 2013
|
|
|
93%
|
Speed (1994) |
"
The result is clean, delirious, and, yes, speedy -- the best big-vehicle-in-peril movie since Clouzot's The Wages of Fear."
—
New Yorker
Posted Jul 30, 2013
|
|
|
96%
|
The Fugitive (1993) |
"
It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess."
—
New Yorker
Posted Jul 29, 2013
|
|
|
40%
|
Only God Forgives (2013) |
"
Is Refn really tendering his grandly named film as a religious parable? If so, I'll pass."
—
New Yorker
Posted Jul 18, 2013
|
|
|
72%
|
Pacific Rim (2013) |
"
It is possible to applaud Pacific Rim for the efficacy of its business model while deploring the tale that has been engendered -- long, loud, dark, and very wet. You might as well watch the birth of an elephant."
—
New Yorker
Posted Jul 18, 2013
|
|
|
97%
|
The Act Of Killing (2013) |
"
There are good reasons to see The Act of Killing, a new documentary directed by Joshua Oppenheimer, but pleasure is not among them."
—
New Yorker
Posted Jul 18, 2013
|
|
|
85%
|
The Way Way Back (2013) |
"
Once again, the oppressed American teen-ager lopes and shuffles to center stage, there to display his woes."
—
New Yorker
Posted Jul 15, 2013
|
|
|
47%
|
I'm So Excited! (2013) |
"
To throw caution to the winds is one thing, but to jettison control of tone at the same time seems a liberty too far."
—
New Yorker
Posted Jul 15, 2013
|
|
|
84%
|
Much Ado About Nothing (2013) |
"
The movie swings along, with a grace denied to some of Whedon's grander projects ..."
—
New Yorker
Posted Jul 1, 2013
|
|
|
84%
|
This Is the End (2013) |
"
The film is more guileful than it looks, even though the narrative is nuts ..."
—
New Yorker
Posted Jul 1, 2013
|
|
|
92%
|
Museum Hours (2013) |
"
It finds the time to look at looking, and to offer a slow revelation: to the lonely and the stranded, it is art that feels like home."
—
New Yorker
Posted Jul 1, 2013
|
|
|
61%
|
Byzantium (2013) |
"
The film slows and slumps as it ventures into a historical backstory, complete with a mysterious brotherhood, an ancient map, and Sam Riley in a wig worse than death."
—
New Yorker
Posted Jul 1, 2013
|
|
|
94%
|
The Truman Show (1998) |
"
Carrey is on his mettle, but you wonder why thirty years of close observation have made Truman so funny; shouldn't he be a regular guy gone mad?"
—
New Yorker
Posted Jun 19, 2013
|
|
|
88%
|
The Usual Suspects (1995) |
"
In a season of fat blockbusters, a picture as brainy, bitter, and compact as this one comes as a shock and a treat."
—
New Yorker
Posted Jun 18, 2013
|
|
|
17%
|
Showgirls (1995) |
"
Berkley's acting début is a joy, if you can call it acting: she jumps up and down a lot to indicate excitement."
—
New Yorker
Posted Jun 12, 2013
|
|
|
69%
|
Fast & Furious 6 (2013) |
"
Just as the plot threatens to run out of gas, Lin rescues the film with a spate of vastly ridiculous and therefore enjoyable set-pieces, most of which involve means of conveyance designed to make the cars look puny."
—
New Yorker
Posted Jun 3, 2013
|
|
|
76%
|
The Kings of Summer (2013) |
"
A slim and wistful independent picture."
—
New Yorker
Posted May 28, 2013
|
|
|
2%
|
Battlefield Earth (2000) |
"
The director is Roger Christian, who, if early audience response is anything to go by, would do well to flee the country under an assumed name."
—
New Yorker
Posted May 28, 2013
|
|
|
29%
|
The House of the Spirits (1994) |
"
This is really quite an achievement. It brings together Jeremy Irons, Meryl Streep, Winona Ryder, Antonio Banderas, and Vanessa Redgrave and insures that, without exception, they all give their worst performances ever."
—
New Yorker
Posted May 20, 2013
|
|
|
87%
|
Star Trek Into Darkness (2013) |
"
Most of the logic has leached away from this movie, and with it half of the fun."
—
New Yorker
Posted May 20, 2013
|
|
|
95%
|
Stories We Tell (2013) |
"
Sarah Polley's documentary is a startling mixture of private memoir, public inquiry, and conjuring trick."
—
New Yorker
Posted May 20, 2013
|
|
|
94%
|
Pulp Fiction (1994) |
"
The talk is dirty and funny, the violence always waiting just around the corner."
—
New Yorker
Posted May 15, 2013
|
|
|
79%
|
Iron Man 3 (2013) |
"
The trouble is that, as the plot quickens, any cleverness withdraws, to make way for the firecrackers of the climax. That is not Black's forte, and his movie duly slumps into a mess."
—
New Yorker
Posted May 6, 2013
|
|
|
82%
|
Something in the Air (2013) |
"
The whole film, though it kicks off with a riot and a firebombing, soon acquires a listless and guttering air ..."
—
New Yorker
Posted May 6, 2013
|
|
|
54%
|
Oblivion (2013) |
"
Feels ever more grounded and stuck ..."
—
New Yorker
Posted Apr 29, 2013
|
|
|
88%
|
In the House (2013) |
"
The result is endlessly playful, although the rules of the game, in Ozon's hands, could hardly be graver, and what can be at stake, in the act of storytelling, has seldom been more elegantly sketched."
—
New Yorker
Posted Apr 29, 2013
|
|
|
87%
|
X2: X-Men United (2003) |
"
The plotting seems dangerously self-interested, being concerned almost exclusively with the survival of the mutants themselves, and, behind the succulent effects, the tone is oddly hectoring."
—
New Yorker
Posted Apr 15, 2013
|
|
|
89%
|
Spider-Man (2002) |
"
The perils and advantages of being bitten by a genetically modified spider are made abundantly clear in Sam Raimi's enjoyable, if broken-backed, exercise in high-cost pulp."
—
New Yorker
Posted Apr 12, 2013
|
