|
|
81%
|
I Am Love (2010) |
"
The best sex you will get all year, if that's what you crave in your moviegoing, is between Tilda Swinton and a prawn."
—
New Yorker
Posted Jun 28, 2010
|
|
|
82%
|
Solitary Man (2010) |
"
The role is so tailor-made for Douglas, who has put in years of screen time on the horizontal, that the rest of the story has to fit in around him, leaving scant room for maneuver."
—
New Yorker
Posted Jun 1, 2010
|
|
|
91%
|
The Father of My Children (Le pere de mes enfants) (2010) |
"
You could argue that the film fails to revive the harassed intensities of its first hour, but I doubt whether they could have been sustained; and what we get instead, with its stunned and glassy air, yields a slow-breathing drama of its own."
—
New Yorker
Posted Jun 1, 2010
|
|
|
73%
|
Iron Man 2 (2010) |
"
To find a comic-book hero who doesn't agonize over his supergifts, and would defend his constitutional right to get a kick out of them, is frankly a relief."
—
New Yorker
Posted May 3, 2010
|
|
|
95%
|
Mother (Madeo) (2010) |
"
The fact that Mother keeps its balance is a tribute to the leading actress..."
—
New Yorker
Posted Mar 8, 2010
|
|
|
68%
|
Shutter Island (2010) |
"
Umberto Eco wrote, "Two clichés make us laugh but a hundred clichés move us, because we sense dimly that the clichés are talking among themselves, celebrating a reunion." Shutter Island is that reunion, and that shrine."
—
New Yorker
Posted Feb 22, 2010
|
|
|
97%
|
A Prophet (Un prophete) (2010) |
"
Jacques Audiard's film, which lasts two and a half hours, maintains an unflagging urgency, stalling only when the double-dealing grows too dense."
—
New Yorker
Posted Feb 22, 2010
|
|
|
98%
|
The Red Shoes (1948) |
"
No wonder Britain, still rationed in color, food, and feeling in the wake of an exhausting war, could not cope with what the movie proposed. Catch it here now, and you will not just be seeing an old film made new; you will have your vision restored."
—
New Yorker
Posted Feb 1, 2010
|
|
|
58%
|
Edge of Darkness (2010) |
"
I liked the pace and the pulse of the film, but it launches no genuine surprise and, despite being irradiated with scenes of sickness and morbid one-liners, has little afterglow."
—
New Yorker
Posted Feb 1, 2010
|
|
|
79%
|
The Girl on the Train (La Fille du RER) (2010) |
"
At the age of sixty-six, [Téchiné] approaches the exploits of his characters with a gusto, and a willingness to be led astray, that borders on the adolescent."
—
New Yorker
Posted Jan 19, 2010
|
|
|
85%
|
A Single Man (2009) |
"
Two characters trying and failing to drown their hopes and regrets, and two strong actors refusing to be tight-laced by a director's exercise in style: here is a mood piece looking for a fight."
—
New Yorker
Posted Dec 14, 2009
|
|
|
76%
|
The Young Victoria (2009) |
"
Blunt strikes me as the real deal: languid but biting, like Jeanne Moreau, yet able to command a scene while somehow appearing to shift to one side (as Moreau would never do) and observe with a skeptic's smile."
—
New Yorker
Posted Dec 14, 2009
|
|
|
91%
|
Up in the Air (2009) |
"
The tension between the bleak and the blithe, the prime source of this movie's strength, is sustained by Reitman to the end."
—
New Yorker
Posted Nov 30, 2009
|
|
|
91%
|
Precious: Based on the Novel Push by Sapphire (2009) |
"
What rescues Precious is the performance of Mo'Nique as Mary, the heroine's Medusa-like mother."
—
New Yorker
Posted Nov 2, 2009
|
|
|
48%
|
Antichrist (2009) |
"
A word to the squeamish: there is no shame in leaving as the tools-and I use the word advisedly-come out. In a way, you will be getting the best of Antichrist, which until now has been a film of awkwardness, confusion, and great beauty."
—
New Yorker
Posted Oct 19, 2009
|
|
|
59%
|
Walt & El Grupo (2008) |
"
This may be the first documentary that contains not a single American, living or dead, who is anything but merry of disposition. That cheer carries over to the on-the-spot gusto of el grupo's sketchbooks -- a more accurate tribute than the final cartoons."
—
New Yorker
Posted Sep 21, 2009
|
|
|
91%
|
District 9 (2009) |
"
You don't feel bamboozled, fooled, or patronized by District 9, as you did by most of the summer blockbusters. You feel winded, shaken, and shamed."
—
New Yorker
Posted Sep 7, 2009
|
|
|
57%
|
9 (2009) |
"
Here's the strangest thing of all: it works."
—
New Yorker
Posted Sep 7, 2009
|
|
|
85%
|
Der Baader Meinhof Komplex (The Baader Meinhof Complex) (2008) |
"
I have seen The Baader Meinhof Complex three or four times now, and, despite exasperation with its fissile form, I find it impossible not to be plunged afresh into this engulfing age of European anxiety."
—
New Yorker
Posted Aug 24, 2009
|
|
|
74%
|
Cold Souls (2009) |
"
This is a comedy, not a philosophy lesson, and thus richer in bafflement than in understanding."
—
New Yorker
Posted Aug 3, 2009
|
|
|
50%
|
Whatever Works (2009) |
"
This is pretty broad stuff, but Clarkson is so much more vital and amiable than anyone else that you instantly root for her."
—
New Yorker
Posted Jun 15, 2009
|
|
|
88%
|
Jerichow (2008) |
"
So compact and controlled is this fine film."
—
New Yorker
Posted May 26, 2009
|
|
|
92%
|
Il Divo (2009) |
"
You could dismiss Servillo's portrayal as a cartoon, but the great actors know that beneath the dark surface of caricature lies a heightened and vivifying truth, as potent as fortified wine. Consume with great caution, and with joy."
—
New Yorker
Posted Apr 27, 2009
|
|
|
98%
|
Anvil! The Story of Anvil (2009) |
"
The most stirring release of the year thus far."
—
New Yorker
Posted Apr 13, 2009
|
|
|
76%
|
Un Baiser s'il vous plaît (Shall We Kiss?) (2009) |
"
The result is that Shall We Kiss? puts its viewers in a bind worthy of the lovers themselves: should we organize a Socratic symposium on the issues raised by the film, or hurl our popcorn violently at the screen?"
—
New Yorker
Posted Mar 30, 2009
|
|
|
94%
|
Tokyo Sonata (Tokyo Sonata) (2009) |
"
For all its oddities, this movie does carry weight, and, with more than eight per cent of Americans out of work, the timing of its release here could not be more acute."
—
New Yorker
Posted Mar 16, 2009
|
|
|
100%
|
Leave Her to Heaven (1945) |
"
As for the brother's death, with Ellen looking on coolly in white robe and shades, it remains one of the most perturbing in the history of Hollywood."
—
New Yorker
Posted Mar 2, 2009
|
|
|
82%
|
Two Lovers (2008) |
"
However moody, Two Lovers didn't strike me as a downer, for the simple reason that it wells with sights and sounds that are guaranteed to lift, not sink, the spirits."
—
New Yorker
Posted Feb 17, 2009
|
|
|
91%
|
Gomorrah (Gomorra) (2008) |
"
The result demands a patient viewing, and maybe more than one; only after a second dose did I get the measure of [director] Garrone's mastery, and realize how far he has surpassed, not merely honored, the author's courageous toil."
—
New Yorker
Posted Feb 17, 2009
|
|
|
89%
|
California Dreamin' (Nesfarsit) (Endless) (2007) |
"
It could use a trim, but only rarely does it strain for effect, and, for a young man, Nemescu was uncannily versed in the emotions of middle age."
—
New Yorker
Posted Jan 26, 2009
|
|
|
96%
|
Waltz with Bashir (2008) |
"
A movie so unusual that it overflows any box in which you try to contain it."
—
New Yorker
Posted Dec 29, 2008
|
|
|
98%
|
The Wrestler (2008) |
"
What Rourke offers us, in short, is not just a comeback performance but something much rarer: a rounded, raddled portrait of a good man."
—
New Yorker
Posted Dec 8, 2008
|
|
|
85%
|
Un Conte de Noël (A Christmas Tale) (2008) |
"
Watching A Christmas Tale is like getting to know a family other than your own by leafing through its scrapbooks and laughing at its photograph albums, while it bickers in the next room over stuff you may never understand."
—
New Yorker
Posted Nov 17, 2008
|
|
|
64%
|
Quantum of Solace (2008) |
"
Quantum of Solace is too savage for family entertainment, but, as a study in headlong desperation, it's easier to believe in than many more ponderous films."
—
New Yorker
Posted Nov 10, 2008
|
|
|
65%
|
High School Musical 3: Senior Year (2008) |
"
Its winning formula is driven not by narrative but by what isn't there: no sex, no drugs, and no rock and roll-- unless you count the logjam of thundering power ballads."
—
New Yorker
Posted Oct 27, 2008
|
|
|
85%
|
Rachel Getting Married (2008) |
"
A minor work, but so menaced by distress that the characters take every opportunity to dance the dark away."
—
New Yorker
Posted Oct 18, 2008
|
|
|
72%
|
Hallam Foe (Mister Foe) (2007) |
"
Mister Foe flirts too often with the unlikely and the foolish, yet there is something to admire in the nerve of its reckless characters, so uneasy in their skins."
—
New Yorker
Posted Sep 2, 2008
|
|
|
85%
|
In Search of a Midnight Kiss (2008) |
"
To praise the beauty of this film is not enough; what lends it tension is that it's wrapped around people for whom beauty is at best an anachronism and at worst an embarrassing joke."
—
New Yorker
Posted Jul 28, 2008
|
|
|
61%
|
Journey to the Center of the Earth (2008) |
"
Most of the movie, directed by Eric Brevig, is as daft, outlandish, and speedy as it needs to be, and, for all its newfangled effects, touchingly old-fashioned in its reverence for the Jules Verne novel that inspired it."
—
New Yorker
Posted Jul 21, 2008
|
|
|
89%
|
Auf der Anderen Seite (The Edge of Heaven) (On the Other Side) (2007) |
"
The Edge of Heaven is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss."
—
New Yorker
Posted May 19, 2008
|
|
|
57%
|
Turn the River (2008) |
"
Skip the coda to this movie, with its tiny upswing of hope, and remember the days at the tables, as dim and endless as nights, and the click of the dialogue."
—
New Yorker
Posted May 5, 2008
|
|
|
63%
|
Baby Mama (2008) |
"
There are gags and scraps of action that give the movie fits of buoyancy, and these tend to come not so much from the younger, eager performers as from the old hands."
—
New Yorker
Posted Apr 21, 2008
|
|
|
98%
|
The Band's Visit (Bikur Ha-Tizmoret) (2007) |
"
When in doubt, strike up the band."
—
New Yorker
Posted Feb 4, 2008
|
|
|
96%
|
4 Months, 3 Weeks and 2 Days (2007) |
"
4 Months sounds more or less unwatchable. [Director] Mungiu's pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie feels more like a thriller than a moody wallow."
—
New Yorker
Posted Jan 22, 2008
|
|
|
86%
|
El Orfanato (The Orphanage) (2007) |
"
The film is less of a shocker than an adventure in anxiety, testing and twisting some of the classic studies in infantile curiosity."
—
New Yorker
Posted Jan 7, 2008
|
|
|
81%
|
Charlie Wilson's War (2007) |
"
The film, adapted from George Crile's book, doesn't always work, but it sure offers value for money."
—
New Yorker
Posted Dec 17, 2007
|
|
|
87%
|
Control (2007) |
"
Control" has an unmistakable pulse: a wiry, electric tension between the extraordinary spectacle of Curtis at maximum surge and the dented ordinariness of which his undear life, like ours, was mostly composed."
—
New Yorker
Posted Oct 27, 2007
|
|
|
67%
|
The Darjeeling Limited (2007) |
"
The Darjeeling Limited works best when the level of artifice is at its highest and most overt."
—
New Yorker
Posted Oct 9, 2007
|
|
|
94%
|
In the Shadow of the Moon (2007) |
"
It has taken a British director, David Sington, to do what nobody has done before: sit down with surviving Apollo astronauts and get them to talk us through what was, in retrospect, the happiest public event of an unhappy century."
—
New Yorker
Posted Sep 10, 2007
|
|
|
96%
|
Deep Water (2006) |
"
Deep Water confirms all the mythical terrors that lurk in our dreams of the sea, and the best person to watch it with would be Melville."
—
New Yorker
Posted Aug 20, 2007
|
73%
78%
61%
52%
26%
4%
