|
|
43%
|
The Great Gatsby (2013) |
"
Fitzgerald's illusions were not very different from Gatsby's, but his illusionless book resists destruction even from the most aggressive and powerful despoilers."
—
New Yorker
Posted May 6, 2013
|
|
|
98%
|
Mud (2013) |
"
Nichols has a strong feeling for the tactility of natural elements-water, wood, terrain, weather."
—
New Yorker
Posted May 6, 2013
|
|
|
80%
|
Breaking the Sound Barrier (The Sound Barrier) (1952) |
"
The aerodynamic issues in the movie may now be antiquated, but the excitement and beauty of early jet aviation are still irresistible."
—
New Yorker
Posted May 1, 2013
|
|
|
36%
|
Inside Daisy Clover (1965) |
"
Wood's movements are spasmodic and graceless. The director Robert Mulligan can't quite find the rhythm, either. Some of the picture is whimsical, some of it as lugubrious as a horror movie."
—
New Yorker
Posted May 1, 2013
|
|
|
44%
|
Midnight's Children (2013) |
"
Rushdie's characteristic antic humor animates the family scenes, but the movie gets bogged down in endless plot convolutions and whimsy (the material would have worked better as a TV miniseries)."
—
New Yorker
Posted Apr 29, 2013
|
|
|
83%
|
What Maisie Knew (2013) |
"
The movie is shrewd about the infinite varieties of selfishness, but it lacks the necessary erotic tension, as well as any equivalent to James's wickedly funny voice."
—
New Yorker
Posted Apr 29, 2013
|
|
|
72%
|
Elephant (2003) |
"
Gus Van Sant's fascinating, mysterious, semidocumentary meditation on the Columbine massacre is not very satisfying, but it's still something to see."
—
New Yorker
Posted Apr 24, 2013
|
|
|
80%
|
Fight Club (1999) |
"
We're meant to take the male bonding and the blood rituals as a protest against the sterility of corporate life and modern design, but Fincher's sadomasochistic kicks overwhelm any possible social critique."
—
New Yorker
Posted Apr 22, 2013
|
|
|
77%
|
42 (2013) |
"
A square, uninventive, but detailed and stirring bio-pic devoted to the two years in an athlete's life that changed a nation."
—
New Yorker
Posted Apr 22, 2013
|
|
|
87%
|
A History of Violence (2005) |
"
Cronenberg's direction, mirroring the split in Tom, is alternately measured and frighteningly explosive, and, as always, he gives the movie a nasty underlay of sexual perversity."
—
New Yorker
Posted Apr 15, 2013
|
|
|
82%
|
X-Men (2000) |
"
The most beautiful, strange, and exciting comic-book movie since the original Batman."
—
New Yorker
Posted Apr 15, 2013
|
|
|
42%
|
To The Wonder (2013) |
"
The individually ravishing but loosely bound shots reduce whatever weight the story might have to the trivial narcissism of Caribbean-travel commercials."
—
New Yorker
Posted Apr 15, 2013
|
|
|
54%
|
The Company You Keep (2013) |
"
This film, with its prickly characters and complicated plot, rips along with continuous tension and power."
—
New Yorker
Posted Apr 15, 2013
|
|
|
82%
|
Road to Perdition (2002) |
"
Visually, the picture is all of a piece, but it's a self-conscious piece of work -- all dark-toned academic classicism."
—
New Yorker
Posted Apr 14, 2013
|
|
|
92%
|
Ghost World (2001) |
"
See it for Birch's hostile stare and Johansson's devastating monotone."
—
New Yorker
Posted Apr 12, 2013
|
|
|
81%
|
Renoir (2013) |
"
The director Gilles Bourdos's sunshiny Portrait of the Artist as an Old Man."
—
New Yorker
Posted Apr 8, 2013
|
|
|
81%
|
The Place Beyond The Pines (2013) |
"
The movie, which holds your attention from moment to moment, by the end leaves you grasping for the experience you haven't had."
—
New Yorker
Posted Mar 28, 2013
|
|
|
48%
|
Olympus Has Fallen (2013) |
"
Fuqua doesn't deliver on what he has set up."
—
New Yorker
Posted Mar 28, 2013
|
|
|
93%
|
Paths of Glory (1957) |
"
The sardonic rhetoric may be laid on a little heavily at times, but the movie is blunt and scornfully brilliant."
—
New Yorker
Posted Mar 26, 2013
|
|
|
93%
|
Sugar (2008) |
"
This is a tragic sports movie that shies away from every element of tragedy."
—
New Yorker
Posted Mar 20, 2013
|
|
|
97%
|
Pickpocket (1959) |
"
Bresson choreographs the complex techniques of lifting wallets and watches with such precision that one seems to be watching a kind of surreptitious ballet."
—
New Yorker
Posted Mar 5, 2013
|
|
|
100%
|
Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) (1957) |
"
The prisoner's lonely ardor is enhanced by Mozart's Mass in C Minor; the ending of the movie, as the music wells up, is pure elation."
—
New Yorker
Posted Mar 5, 2013
|
|
|
82%
|
Akasen chitai (Street of Shame) (1956) |
"
Of all the films about prostitution, Kenji Mizoguchi's Street of Shame, made in 1956 at the end of his career, is perhaps the greatest."
—
New Yorker
Posted Mar 4, 2013
|
|
|
93%
|
Shakespeare in Love (1998) |
"
A ripely emotional comedy-fantasia."
—
New Yorker
Posted Feb 24, 2013
|
|
|
88%
|
American Beauty (1999) |
"
This amazing and impassioned fantasia about American loneliness begins as satire and ends with a vision of the sublime."
—
New Yorker
Posted Feb 24, 2013
|
|
|
97%
|
Casablanca (1943) |
"
Casablanca is the most sociable, the most companionable film ever made. Life as an endless party."
—
New Yorker
Posted Feb 19, 2013
|
|
|
81%
|
The Impossible (2012) |
"
Alas, the movie tells a rather commonplace story."
—
New Yorker
Posted Jan 28, 2013
|
|
|
98%
|
56 Up (2013) |
"
Inevitably, one looks in the mirror afterward and thinks, What have I lost? What have I gained? And at what cost?"
—
New Yorker
Posted Jan 28, 2013
|
|
|
45%
|
On the Road (2012) |
"
A pleasant but undistinguished adaptation of Jack Kerouac's 1957 novel about himself and his Beat friends in the late forties."
—
New Yorker
Posted Jan 14, 2013
|
|
|
74%
|
Hope Springs (2012) |
"
The film, a rehab job on a beached marriage, displays the most tender respect, the most exquisite tact, and yet it would be completely unwatchable -- an outright embarrassment -- with any other actors than Tommy Lee Jones and Meryl Streep."
—
New Yorker
Posted Jan 8, 2013
|
|
|
93%
|
Zero Dark Thirty (2013) |
"
It combines ruthlessness and humanity in a manner that is paradoxical and disconcerting yet satisfying as art."
—
New Yorker
Posted Dec 17, 2012
|
|
|
52%
|
This is 40 (2012) |
"
Here is all the plenitude and warmth and the triviality and sadness of Los Angeles life."
—
New Yorker
Posted Dec 17, 2012
|
|
|
94%
|
The Central Park Five (2012) |
"
Central Park is at first discomforting, then enraging, then illuminating."
—
New Yorker
Posted Dec 5, 2012
|
|
|
38%
|
Hyde Park on Hudson (2012) |
"
We can accept that F.D.R. was a charming cad, but if he weren't a great deal more than that there would be no reason to put him at the center of a movie."
—
New Yorker
Posted Dec 5, 2012
|
|
|
92%
|
Silver Linings Playbook (2012) |
"
Pretty much a miscalculation from beginning to end."
—
New Yorker
Posted Nov 20, 2012
|
|
|
88%
|
Life of Pi (2012) |
"
The film, at its best, celebrates the idiosyncratic wonders and dangers of raw, ravaging nature."
—
New Yorker
Posted Nov 20, 2012
|
|
|
92%
|
Skyfall (2012) |
"
The director, Sam Mendes, has taken a pop concept and solemnized it with Freud, which is not, perhaps, the best way of turning Bond into grownup entertainment."
—
New Yorker
Posted Nov 8, 2012
|
|
|
79%
|
Flight (2012) |
"
At a certain point, great actors want to show us the truth of something that may be far from their lives but that somehow they understand, intimately, all too well."
—
New Yorker
Posted Nov 8, 2012
|
|
|
82%
|
Seven Psychopaths (2012) |
"
The kind of messy, absurdist movie that can lift you out of a crappy mood-at least for a while."
—
New Yorker
Posted Oct 22, 2012
|
|
|
90%
|
Holy Motors (2012) |
"
Carax produces the startling dislocations of reality that Buñuel pulled off, but without the gleeful wit."
—
New Yorker
Posted Oct 22, 2012
|
|
|
94%
|
The Sessions (2012) |
"
The movie is so clammily sensitive and tame that it stifles any strong response."
—
New Yorker
Posted Oct 22, 2012
|
|
|
79%
|
A Late Quartet (2012) |
"
Adultery, unfulfilled ambition, envy, mother-daughter tensions, disease-all the standard and predictable conflicts are there, as in a soap opera."
—
New Yorker
Posted Oct 22, 2012
|
|
|
85%
|
The Sixth Sense (1999) |
"
A delicate, emotionally attentive, but very scary ghost story."
—
New Yorker
Posted Oct 10, 2012
|
|
|
87%
|
The Blair Witch Project (1999) |
"
A cunningly conceived and crafted exercise in suggestibility and terror."
—
New Yorker
Posted Oct 9, 2012
|
|
|
51%
|
Trouble with the Curve (2012) |
"
Lorenz ... lays in everything methodically, fully, but without much invention or energy; you can imagine each plot development ten minutes before it arrives."
—
New Yorker
Posted Oct 8, 2012
|
|
|
44%
|
The Paperboy (2012) |
"
It's a good story about people who are not what they seem, about identity wavering in the heat-a true swamp tale-but the movie is messily ineffective."
—
New Yorker
Posted Oct 8, 2012
|
|
|
68%
|
Wuthering Heights (2012) |
"
All of the book's poetry is gone; it isn't even a memory."
—
New Yorker
Posted Oct 8, 2012
|
|
|
85%
|
End of Watch (2012) |
"
Jumpy and exciting."
—
New Yorker
Posted Sep 24, 2012
|
|
|
87%
|
Arbitrage (2012) |
"
Part thriller, part character study, and it moves swiftly and confidently, with many details that feel exactly right."
—
New Yorker
Posted Sep 24, 2012
|
43%
46%
95%
99%
65%
61%
