|
3/5
|
62%
|
The Bling Ring (2013) |
"
'The Bling Ring' occupies a vertiginous middle ground between banality and transcendence, and its refusal to commit to one or the other is both a mark of integrity and a source of frustration."
—
New York Times
Posted Jun 13, 2013
|
|
4/5
|
97%
|
20 Feet From Stardom (2013) |
"
This generous, fascinating documentary about the careers of backup singers, most of them African-American women, seeks to rewrite the history of pop music by focusing attention on voices at once marginal and vital."
—
New York Times
Posted Jun 13, 2013
|
|
3/5
|
85%
|
This Is the End (2013) |
"
In places it is genuinely, even sublimely hilarious. Why shouldn't it be?"
—
New York Times
Posted Jun 11, 2013
|
|
2/5
|
22%
|
Violet & Daisy (2013) |
"
We don't feel the weight and menace of death, nor the volatile emotions of youth, and have nothing to respond to beyond the spectacle of girls with guns."
—
New York Times
Posted Jun 6, 2013
|
|
5/5
|
83%
|
You Ain't Seen Nothin' Yet! (2013) |
"
"You Ain't Seen Nothin' Yet" is a sly, elegant meditation on the relationship between reality and artifice. But it is a thought-experiment driven above all by emotion."
—
New York Times
Posted Jun 6, 2013
|
|
5/5
|
84%
|
Much Ado About Nothing (2013) |
"
From its very first scenes, Mr. Whedon's film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era."
—
New York Times
Posted Jun 6, 2013
|
|
3.5/5
|
70%
|
The East (2013) |
"
"The East" is a neat little thriller about ends and means and ethical quandaries."
—
New York Times
Posted May 30, 2013
|
|
4/5
|
96%
|
Hannah Arendt (2013) |
"
My only real problem with "Hannah Arendt" is that it's not a mini-series."
—
New York Times
Posted May 28, 2013
|
|
5/5
|
85%
|
Fill the Void (2013) |
"
Both accessible and thrilling."
—
New York Times
Posted May 23, 2013
|
|
5/5
|
98%
|
Before Midnight (2013) |
"
Mr. Linklater's shooting style is so graceful and unobtrusive, and Mr. Hawke and Ms. Delpy inhabit their characters with such conviction, that the challenge and originality of the movies are easy to overlook."
—
New York Times
Posted May 23, 2013
|
|
5/5
|
91%
|
Frances Ha (2013) |
"
Ms. Gerwig, who has effortless, behind-the-beat verbal timing, also possesses a knack for physical comedy, an enviable ability to obliterate the difference between clumsiness and grace."
—
New York Times
Posted May 16, 2013
|
|
5/5
|
79%
|
Augustine (2013) |
"
Ms. Winocour is not inclined to turn "Augustine" into a neatly moralized fable of a predator and his victim. Rather, the film is what might be called a melodrama of transference ..."
—
New York Times
Posted May 16, 2013
|
|
2.5/5
|
87%
|
Star Trek Into Darkness (2013) |
"
Maybe it is too late to lament the militarization of Star Trek, but in his pursuit of blockbuster currency, Mr. Abrams has sacrificed a lot of its idiosyncrasy and, worse, the large-spirited humanism that sustained it."
—
New York Times
Posted May 15, 2013
|
|
3/5
|
76%
|
Venus And Serena (2013) |
"
Think of this movie as a greatest-hits package, with some good stuff to show but nothing very new to say."
—
New York Times
Posted May 9, 2013
|
|
3.5/5
|
50%
|
The Great Gatsby (2013) |
"
The result is less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence."
—
New York Times
Posted May 9, 2013
|
|
5/5
|
82%
|
Something in the Air (2013) |
"
Mr. Assayas's method is observant and immersive. His camera moves among young bodies like an invisible friend, and his somewhat messy narrative is propelled by fidelity to feeling rather than by the machinery of plot."
—
New York Times
Posted May 2, 2013
|
|
5/5
|
88%
|
What Maisie Knew (2013) |
"
"What Maisie Knew" lays waste to the comforting dogma that children are naturally resilient, and that our casual, unthinking cruelty to them can be answered by guilty and belated displays of affection."
—
New York Times
Posted May 2, 2013
|
|
—
|
100%
|
Journey to Italy (Viaggio in Italia) (Strangers) (The Lonely Woman) (1954) |
—
New York Times
Posted May 2, 2013
|
|
4/5
|
90%
|
Voyage in Italy (1992) |
"
Some of us will never tire of those soirees, with their black-tied gloom and elegant suffering, and will therefore relish the beauty and melancholy of this voyage, along with its touristic snapshots and heart-tugging Neapolitan songs."
—
New York Times
Posted Apr 30, 2013
|
|
3.5/5
|
69%
|
Paradise: Love (2013) |
"
A tour de force of meticulous cruelty, a comic melodrama that elicits laughter and empathy and then replaces those responses with squirming discomfort."
—
New York Times
Posted Apr 25, 2013
|
|
3.5/5
|
99%
|
Mud (2013) |
"
Mr. Nichols's voice is a distinctive and welcome presence in American film."
—
New York Times
Posted Apr 25, 2013
|
|
2.5/5
|
45%
|
Pain & Gain (2013) |
"
It all leaves you pondering whether you have just seen a monumentally stupid movie or a brilliant movie about the nature and consequences of stupidity."
—
New York Times
Posted Apr 25, 2013
|
|
3.5/5
|
92%
|
Ain't In It For My Health: A Film About Levon Helm (2013) |
"
An affectionate tribute and a gift for fans who grew fond of his company on records or at concerts and who would like a little bit more."
—
New York Times
Posted Apr 18, 2013
|
|
2.5/5
|
88%
|
In the House (2013) |
"
The dexterity of the actors and their director is not quite enough, and as "In the House" accelerates, it also starts to sputter, piling on incidents and revelations that cause its web of implications to unravel."
—
New York Times
Posted Apr 18, 2013
|
|
3/5
|
77%
|
42 (2013) |
"
Though not accurate in every particular, the movie mostly succeeds in respecting the facts of history and the personality of its hero, and in reminding audiences why he mattered."
—
New York Times
Posted Apr 11, 2013
|
|
2.5/5
|
42%
|
To The Wonder (2013) |
"
[Malick's] insistence on finding a cinematic idiom that connects beauty to ultimate truth is noble and sincere. But the fine intentions of "To the Wonder" pave a road to puzzlement, not awe."
—
New York Times
Posted Apr 11, 2013
|
|
4/5
|
94%
|
Blancanieves (2013) |
"
"Blancanieves" deftly blends cinematic antiquarianism, period atmosphere and primal emotions."
—
New York Times
Posted Mar 28, 2013
|
|
3/5
|
81%
|
The Place Beyond The Pines (2013) |
"
If, in the end, the film can't quite sustain its epic vision, it does, along the way, achieve the density and momentum of a good novel."
—
New York Times
Posted Mar 28, 2013
|
|
3/5
|
93%
|
The Sapphires (2013) |
"
A solid, stirring song sung with more sincerity than polish."
—
New York Times
Posted Mar 21, 2013
|
|
1/5
|
47%
|
Olympus Has Fallen (2013) |
"
Sadly, Mr. Butler lacks the wit and the range to convey anything other than grouchy belligerence, and the script, by Creighton Rothenberger and Katrin Benedikt, seems intent on squandering opportunities to be clever or interesting."
—
New York Times
Posted Mar 21, 2013
|
|
4/5
|
91%
|
Gimme The Loot (2013) |
"
Sofia is intense and unsmiling, while Malcolm is a charming, goofy chatterbox, and they make a vivid impression, even without spray paint."
—
New York Times
Posted Mar 21, 2013
|
|
3/5
|
38%
|
Admission (2013) |
"
[Fey and Rudd] are fun to watch, though not as much fun as they might have been in a riskier, crazier movie."
—
New York Times
Posted Mar 21, 2013
|
|
3.5/5
|
81%
|
From Up On Poppy Hill (2013) |
"
Its visual magic lies in painterly compositions of foliage, clouds, architecture and water, and its emotional impact comes from the way everyday life is washed in the colors of memory."
—
New York Times
Posted Mar 14, 2013
|
|
4/5
|
80%
|
Ginger & Rosa (2013) |
"
Ms. Englert is as adept at blurring Rosa's feelings as Ms. Fanning is at clarifying Ginger's. Between them they illuminate an intimate, volatile cosmos."
—
New York Times
Posted Mar 14, 2013
|
|
4/5
|
67%
|
Philip Roth: Unmasked (2013) |
"
He is, for 90 minutes, marvelous company - expansive, funny, generous and candid."
—
New York Times
Posted Mar 12, 2013
|
|
4/5
|
87%
|
The Silence (2013) |
"
[Mr. Odar uses] graceful wide-screen compositions and haunting sound design to create a compelling mood of menace, anxiety and sorrow. "
—
New York Times
Posted Mar 7, 2013
|
|
5/5
|
90%
|
Beyond The Hills (2013) |
"
"Beyond the Hills" is a tough and engrossing work of realism, set in rural Romania in the dead of winter, but it also has some of the shadowy magic of an ancient folk tale."
—
New York Times
Posted Mar 7, 2013
|
|
4/5
|
67%
|
The We and the I (2013) |
"
"The We and the I" neither scolds nor sentimentalizes its young characters. Instead the film invites viewers, of whatever age, to immerse themselves in the chaos, glee and heartache of a long ride home on the last day of school."
—
New York Times
Posted Mar 7, 2013
|
|
3/5
|
67%
|
Stoker (2013) |
"
It may be Mr. Park's reputation that induces a state of queasy anticipation in the early scenes of "Stoker." But it is also, unquestionably, his craft."
—
New York Times
Posted Feb 28, 2013
|
|
3/5
|
75%
|
Leviathan (2013) |
"
[It] offers not information but immersion: 90 minutes of wind, water, grinding machinery and piscine agony."
—
New York Times
Posted Feb 28, 2013
|
|
3.5/5
|
88%
|
Welcome To Pine Hill (2013) |
"
[It] relies on understatement and indirection to arrive at a powerful and resonant meaning."
—
New York Times
Posted Feb 28, 2013
|
|
2/5
|
15%
|
A Good Day To Die Hard (2013) |
"
Everything that made the first "Die Hard" memorable -- the nuances of character, the political subtext, the cowboy wit -- has been dumbed down or scrubbed away entirely."
—
New York Times
Posted Feb 13, 2013
|
|
4/5
|
92%
|
Night Across the Street (2013) |
"
Raúl Ruiz's elegiac, enigmatic and mischievous final film."
—
New York Times
Posted Feb 7, 2013
|
|
5/5
|
84%
|
Side Effects (2013) |
"
While the plot may be predictable (and more than a little preposterous) in retrospect, Mr. Soderbergh handles it brilliantly, serving notice once again that he is a crackerjack genre technician."
—
New York Times
Posted Feb 7, 2013
|
|
3/5
|
60%
|
John Dies at the End (2013) |
"
It zigs, zags and trips over its own feet and on its own home-brewed hallucinogens. It's a ridiculous, preposterous, sometimes maddening experience, but also kind of a blast. "
—
New York Times
Posted Jan 31, 2013
|
|
3/5
|
89%
|
Koch (2013) |
"
New York may be a safer, cleaner and less argumentative place than it was in the 1980s, but he remains as contentious, as mischievous and at times as inflammatory as ever."
—
New York Times
Posted Jan 31, 2013
|
|
4/5
|
22%
|
The Taste of Money (2013) |
"
Both bitter and delicious."
—
New York Times
Posted Jan 24, 2013
|
|
3/5
|
40%
|
Parker (2013) |
"
If "Parker" is, in the end, business as usual, it is also a pretty good deal."
—
New York Times
Posted Jan 24, 2013
|
|
4/5
|
86%
|
La pirogue (2013) |
"
A remarkably cleareyed, quietly ambitious film ..."
—
New York Times
Posted Jan 22, 2013
|
75%
80%
62%
52%
26%
4%
