|
|
92%
|
The Devil's Backbone (El Espinazo del diablo) (2001) |
"
Del Toro's elegant pacing and gothic touches imbue the proceedings with a cool mystery."
—
New Yorker
Posted Oct 7, 2013
|
|
|
92%
|
Drag Me to Hell (2009) |
"
Playful and relentlessly scary."
—
New Yorker
Posted Aug 4, 2013
|
|
|
91%
|
Harry Potter and the Prisoner of Azkaban (2004) |
"
Just like the books that the films are based on, this franchise gets better with each installment."
—
New Yorker
Posted Aug 3, 2013
|
|
|
88%
|
Nico Icon (1995) |
"
With extraordinary technique, Ofteringer paints a moody, melancholy picture of a legend who decayed into the ghost of herself."
—
New Yorker
Posted Aug 2, 2013
|
|
|
87%
|
The Conjuring (2013) |
"
Wan ... builds the many bumps in the night into a small Hitchcockian symphony of terror by way of long, eerie tracking shots, dramatic silences, and sudden scares that are frighteningly immersive."
—
New Yorker
Posted Jul 29, 2013
|
|
|
75%
|
Despicable Me 2 (2013) |
"
This is one of those rarities, an animated sequel that improves on the original."
—
New Yorker
Posted Jul 15, 2013
|
|
|
93%
|
Big Star: Nothing Can Hurt Me (2013) |
"
[Documents] the band's coming together and falling apart and [offers] a passionate tribute to its brilliant, beautiful music."
—
New Yorker
Posted Jul 15, 2013
|
|
|
99%
|
20 Feet From Stardom (2013) |
"
This spirited, thoughtful look at unheralded but ubiquitous artists gives supreme credit where credit is due."
—
New Yorker
Posted Jul 1, 2013
|
|
|
15%
|
Jade (1995) |
"
Writer Joe Eszterhas's follow-up to his Showgirls fiasco is every bit as hopeless, and this time he takes some good actors down with him."
—
New Yorker
Posted Jun 12, 2013
|
|
|
72%
|
Beavis and Butt-Head Do America (1996) |
"
Its idiocy is irresistible."
—
New Yorker
Posted May 3, 2013
|
|
|
34%
|
Hackers (1995) |
"
The story is negligible, but it offers the same order of fun as a good rock video: the marriage of images and music."
—
New Yorker
Posted May 3, 2013
|
|
|
40%
|
Tank Girl (1995) |
"
Lori Petty does her tough-talking best to breathe some life into the comic-book action, but it's not enough."
—
New Yorker
Posted May 3, 2013
|
|
|
98%
|
The Secret of Roan Inish (1995) |
"
The rhythms are placid and the camerawork (by Haskell Wexler) is simple and unfussy. The film's a charm."
—
New Yorker
Posted May 3, 2013
|
|
|
87%
|
Hellboy II: The Golden Army (Hellboy 2) (2008) |
"
This film is happy to coast on its good humor and brilliant action pieces. Fair enough, since del Toro has taken the poetry of some of his best work and butched it up, creating some of the most amazing-looking creatures and battles of his career."
—
New Yorker
Posted Apr 15, 2013
|
|
|
62%
|
Evil Dead (2013) |
"
An effectively relentless gore-fest."
—
New Yorker
Posted Apr 15, 2013
|
|
|
81%
|
Hellboy (2004) |
"
When the movie's story line concentrates on the character of Hellboy and his relationships with those important to him, the film becomes a unique romp, with an exciting yet vulnerable superhero at the center who just happens to be the spawn of Satan."
—
New Yorker
Posted Apr 14, 2013
|
|
|
75%
|
Over the Hedge (2006) |
"
The story has a loony, slapstick verve, and the star-studded voice work is uniformly entertaining."
—
New Yorker
Posted Apr 14, 2013
|
|
|
65%
|
Antiviral (2013) |
"
Cronenberg's directing style is elegant, all shiny surfaces and sleek camera moves, until the horror begins; then the film turns as dark and as bloody as the physical decay of its star-obsessed characters."
—
New Yorker
Posted Apr 8, 2013
|
|
|
84%
|
The Rookie (2002) |
"
It's Quaid and his fellow actors, Rachel Griffiths and Brian Cox, who lift the film out of its intermittent doldrums, and together they deliver that rare thing: a nuanced sports movie."
—
New Yorker
Posted Mar 12, 2013
|
|
|
15%
|
Hansel and Gretel: Witch Hunters (2013) |
"
Eighty-eight minutes of trash."
—
New Yorker
Posted Feb 4, 2013
|
|
|
41%
|
Parker (2013) |
"
A cool, violent, efficient adaptation of the taciturn anti-hero (the creation of Donald E. Westlake, writing as Richard Stark), who's out to restore order in a bloody world in his own bloody way."
—
New Yorker
Posted Feb 4, 2013
|
|
|
48%
|
The Twilight Saga: Breaking Dawn Part 2 (2012) |
"
A feast of ripe dialogue and bloodsucking action."
—
New Yorker
Posted Dec 3, 2012
|
|
|
90%
|
Gayby (2012) |
"
Lisecki gives this story a modest, quip-filled heartbeat; nothing is painted too broadly, and the complications and awkwardness of the situation play out with great warmth."
—
New Yorker
Posted Oct 8, 2012
|
|
|
81%
|
Pitch Perfect (2012) |
"
Warblers win the day in this sweet-natured film (based on a swell behind-the-scenes book by Mickey Rapkin) about the life and loves of collegians from competing a-cappella groups."
—
New Yorker
Posted Oct 8, 2012
|
|
|
100%
|
How to Survive a Plague (2012) |
"
Moving and essential."
—
New Yorker
Posted Oct 1, 2012
|
|
|
55%
|
V/H/S (2012) |
"
All of the short films are genuinely unnerving, and the point-of-view camerawork is, at times, startling."
—
New Yorker
Posted Oct 1, 2012
|
|
|
68%
|
Step Up To The Plate (2012) |
"
It's an intimate and immaculate film, modest in its goals and greatly affecting."
—
New Yorker
Posted Sep 24, 2012
|
|
|
76%
|
Premium Rush (2012) |
"
The whole film sizzles with urban aggression."
—
New Yorker
Posted Sep 3, 2012
|
|
|
87%
|
ParaNorman (2012) |
"
The film avoids the pandering of many animated features, bringing an acerbic edge and a thrilling intelligence to its story."
—
New Yorker
Posted Aug 27, 2012
|
|
|
57%
|
Sparkle (2012) |
"
Noteworthy only for featuring Whitney Houston's last screen appearance."
—
New Yorker
Posted Aug 27, 2012
|
|
|
65%
|
The Campaign (2012) |
"
Despite the obviousness of its political points, the film has a scattershot, breezy appeal."
—
New Yorker
Posted Aug 20, 2012
|
|
|
35%
|
Abraham Lincoln: Vampire Hunter (2012) |
"
The violence quickly becomes numbing, and Benjamin Walker plays Lincoln without the sense of irony needed to keep the historical and supernatural sides of the story consistently entertaining."
—
New Yorker
Posted Jul 2, 2012
|
|
|
78%
|
Brave (2012) |
"
The story, with its patchwork of plots (involving feuding clans and disastrous spells), holds together enough to thrill intermittently."
—
New Yorker
Posted Jul 2, 2012
|
|
|
86%
|
The Pirates! Band of Misfits (2012) |
"
The action is beautifully staged, delightful, and exciting."
—
New Yorker
Posted May 7, 2012
|
|
|
85%
|
The Raid: Redemption (2012) |
"
The movie is a gory free-for-all, a horror film dressed up as an action film, and it's as pure a shot of adrenaline as any Tarantino fan could wish for."
—
New Yorker
Posted Apr 9, 2012
|
|
|
54%
|
Dr Seuss' The Lorax (2012) |
"
May be a diversion for younger children, but it betrays the elegant simplicity of Geisel's vision."
—
New Yorker
Posted Mar 19, 2012
|
|
|
66%
|
The Woman in Black (2012) |
"
The moody, beautifully composed production raises it above the norm."
—
New Yorker
Posted Feb 26, 2012
|
|
|
53%
|
Safe House (2012) |
"
The film's super-saturated look and quick cutting are mere substitutes for any real sense of intrigue."
—
New Yorker
Posted Feb 26, 2012
|
|
|
79%
|
The Innkeepers (2012) |
"
West freshens up the horror genre with a distinctive, careful camera style and an ability to write with empathy and humor."
—
New Yorker
Posted Feb 6, 2012
|
|
|
60%
|
Sherlock Holmes: A Game of Shadows (2011) |
"
It's complete trash and makes a mockery of Holmes's vaunted deductive reasoning."
—
New Yorker
Posted Jan 16, 2012
|
|
|
96%
|
The Muppets (2011) |
"
The purity of the nostalgia turns this franchise film into a love letter to childhood."
—
New Yorker
Posted Dec 5, 2011
|
|
|
24%
|
Twilight Saga: Breaking Dawn Part 1 (2011) |
"
This penultimate "Twilight" film is the best in the series so far. It's languorous, romantic, moody, and, in the end, horrifying."
—
New Yorker
Posted Dec 5, 2011
|
|
|
91%
|
Arthur Christmas (2011) |
"
It's busy but buoyant, and it honors the tradition of giving with wit and style."
—
New Yorker
Posted Dec 5, 2011
|
|
|
36%
|
In Time (2011) |
"
Niccol's zippy direction, joined to a sleek, rich production design, keeps the movie spinning like a shiny toy."
—
New Yorker
Posted Oct 31, 2011
|
|
|
70%
|
Footloose (2011) |
"
An unnecessary, though enjoyable, remake of Kevin Bacon's 1984 breakout hit."
—
New Yorker
Posted Oct 24, 2011
|
|
|
60%
|
Real Steel (2011) |
"
Its remote-controlled emotional responses leave little room for genuine uplift."
—
New Yorker
Posted Oct 17, 2011
|
|
|
100%
|
We Were Here (2011) |
"
Its vivid, no-nonsense style (in which interviews, period photographs, and news footage merge seamlessly) makes the past present."
—
New Yorker
Posted Sep 19, 2011
|
|
|
83%
|
Warrior (2011) |
"
The movie is so skillfully made, and the performances are so convincingly real (Hardy is sensational), that, as it reaches its cathartic, winning finish, it achieves a surprising compassion and honesty."
—
New Yorker
Posted Sep 19, 2011
|
|
|
82%
|
Rise of the Planet of the Apes (2011) |
"
The action scenes (particularly a battle between humans and apes on the Golden Gate Bridge) are inventively spectacular, and the story at the movie's core is evocative and engaging."
—
New Yorker
Posted Aug 22, 2011
|
