|
|
93%
|
The Central Park Five (2012) |
"
Central Park is at first discomforting, then enraging, then illuminating."
—
New Yorker
Posted Dec 5, 2012
|
|
|
37%
|
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
|
|
|
87%
|
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
|
|
|
78%
|
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
|
|
|
83%
|
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
|
|
|
91%
|
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
|
|
|
78%
|
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
|
|
|
43%
|
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
|
|
|
58%
|
The Eye of the Storm (2012) |
"
A brilliantly acted semi-dud."
—
New Yorker
Posted Sep 10, 2012
|
|
|
84%
|
Detropia (2012) |
"
This documentary film, about the deconstruction of a great American city, is surprisingly lyrical and often very moving."
—
New Yorker
Posted Sep 10, 2012
|
|
|
90%
|
Keep the Lights On (2012) |
"
The two characters are ciphers, and the script, which Sachs co-wrote with Mauricio Zacharias, is by turns underwritten or banal."
—
New Yorker
Posted Sep 3, 2012
|
|
|
89%
|
Compliance (2012) |
"
Watching Compliance recently, I also began to squirm and talk back, but not because I disliked the movie, which I think is brilliant."
—
New Yorker
Posted Aug 17, 2012
|
|
|
64%
|
Cosmopolis (2012) |
"
Despite the constrictions, Cronenberg keeps the space handsome and active. For long stretches, Cosmopolis is dreamy and funny, in an off-centered way."
—
New Yorker
Posted Aug 17, 2012
|
|
|
59%
|
Red Hook Summer (2012) |
"
A clear failure, yet Lee is getting at things that mystify him."
—
New Yorker
Posted Aug 9, 2012
|
|
|
56%
|
The Bourne Legacy (2012) |
"
The new movie continues the Bourne tradition of exciting, reality-based thrillers, but when the series lost its star it lost most of its soul."
—
New Yorker
Posted Aug 9, 2012
|
|
|
95%
|
The Imposter (2012) |
"
The movie is fascinating, but it leaves you uneasy, because you don't always know who you're watching (actor? family member?), and you begin to feel that you're being scammed, too."
—
New Yorker
Posted Jul 23, 2012
|
|
|
51%
|
Savages (2012) |
"
Stone devotes considerable ingenuity to making atrocity appear as a terrifying kind of home movie, but "Savages" is no more than a summertime debauch."
—
New Yorker
Posted Jul 23, 2012
|
|
|
76%
|
Unforgivable (2012) |
"
The movie is intriguing and racy, but not always convincing."
—
New Yorker
Posted Jul 1, 2012
|
|
|
43%
|
To Rome with Love (2012) |
"
Woody Allen's new movie, To Rome with Love, is light and fast, with some of the sharpest dialogue and acting that he's put on the screen in years. The picture gently but surely moves back and forth between romantic comedy and satirical farce."
—
New Yorker
Posted Jun 26, 2012
|
|
|
74%
|
Prometheus (2012) |
"
The movie may be a scare show that leaves many questions unanswered, but Scott's craft earns an exhausted kind of respect."
—
New Yorker
Posted Jun 18, 2012
|
|
|
73%
|
Dark Horse (2012) |
"
Solondz is a minor master of black comedy-the flattened emotional responses, the grotesque non sequiturs, the perverse desires lurking under a bland surface."
—
New Yorker
Posted Jun 18, 2012
|
|
|
100%
|
Toni (1934) |
"
Some of Renoir's staging, faithful to the characters' willfulness, is abrupt, with a casual lyricism caught on the fly."
—
New Yorker
Posted Jun 6, 2012
|
|
|
57%
|
The Dictator (2012) |
"
The film has a vicious edge that the Marx Brothers didn't have, and it's too low-minded to achieve their enchanting blend of anarchy and surrealism."
—
New Yorker
Posted May 22, 2012
|
|
|
75%
|
The Intouchables (2012) |
"
The film is an embarrassment."
—
New Yorker
Posted May 22, 2012
|
|
|
63%
|
The Five-Year Engagement (2012) |
"
Like Apatow's "Funny People," the film is an intentional hybrid: half gag comedy, half open-ended exploration of everything that can go wrong -- and occasionally right -- between two people whom nature, if not society, means to be together."
—
New Yorker
Posted May 1, 2012
|
|
|
78%
|
The Best Exotic Marigold Hotel (2012) |
"
Judi Dench delivers one of her most wide-ranging and moving performances."
—
New Yorker
Posted May 1, 2012
|
|
|
38%
|
Lockout (Unrated) (2012) |
"
At the screening, in between laughing fits, people around me whispered, in awed tones, "B movie, 1956.""
—
New Yorker
Posted Apr 23, 2012
|
|
|
52%
|
The Three Stooges (2012) |
"
The movie is so infantile that it achieves a special kind of purity and gentleness."
—
New Yorker
Posted Apr 23, 2012
|
|
|
90%
|
Bernie (2012) |
"
Linklater has made a smart movie, with a mordant satirical edge, but he almost falls victim to his own sense of authenticity."
—
New Yorker
Posted Apr 23, 2012
|
|
|
97%
|
Monsieur Lazhar (2012) |
"
Monsieur Lazhar is so discreet that it never quite comes to life."
—
New Yorker
Posted Apr 10, 2012
|
|
|
89%
|
Footnote (2012) |
"
Footnote requires little knowledge of Judaism and its texts. Rather, it's about the complications of love, guilt, and rage."
—
New Yorker
Posted Apr 10, 2012
|
|
—
|
54%
|
Bully (2001) |
—
New Yorker
Posted Mar 27, 2012
|
|
|
86%
|
Bully (2012) |
"
[The directors] avoid charts and graphs, talking heads and sociology. Their approach is more direct and, perhaps, more effective."
—
New Yorker
Posted Mar 26, 2012
|
|
|
84%
|
The Hunger Games (2012) |
"
Even when two people are just talking calmly, Ross jerks the camera around. Why? As the sense of danger increases, he has nothing to build toward."
—
New Yorker
Posted Mar 26, 2012
|
|
|
51%
|
John Carter (2012) |
"
A mess."
—
New Yorker
Posted Mar 26, 2012
|
|
|
78%
|
The Deep Blue Sea (2012) |
"
Sombre and powerful."
—
New Yorker
Posted Mar 20, 2012
|
|
|
59%
|
Wanderlust (2012) |
"
A messy but occasionally very funny satirical comedy..."
—
New Yorker
Posted Feb 28, 2012
|
|
—
|
100%
|
This Is Not a Film (2003) |
—
New Yorker
Posted Feb 28, 2012
|
|
|
88%
|
In Darkness (2012) |
"
Honesty is the movie's greatest strength."
—
New Yorker
Posted Feb 26, 2012
|
|
—
|
58%
|
Edge of Darkness (2010) |
—
New Yorker
Posted Feb 7, 2012
|
|
|
85%
|
Chronicle (2012) |
"
"Chronicle" is a mildly experimental commercial film, and, for the most part, it's loose-limbed fun."
—
New Yorker
Posted Feb 7, 2012
|
|
|
51%
|
Contraband (2012) |
"
A winter-season product, but perfectly absorbing once it gets going."
—
New Yorker
Posted Jan 24, 2012
|
|
|
83%
|
Crazy Horse (2012) |
"
The spectacle lodges somewhere between erotic reverie and the perfection of a revolving sculpture."
—
New Yorker
Posted Jan 24, 2012
|
|
|
80%
|
Haywire (2012) |
"
Carano is strong, fast, relentless. She's not much of an actress yet, but Soderbergh hides her weaknesses well..."
—
New Yorker
Posted Jan 24, 2012
|
|
|
66%
|
We Bought a Zoo (2011) |
"
Nothing that happens in this movie is in the least surprising, but it's all quite pleasant and even, at times, moving."
—
New Yorker
Posted Jan 9, 2012
|
|
|
47%
|
Extremely Loud & Incredibly Close (2012) |
"
Sorry, but there must be richer ways of dramatizing so obvious a theme."
—
New Yorker
Posted Jan 9, 2012
|
|
|
93%
|
Mission: Impossible Ghost Protocol (2011) |
"
"Mission: Impossible-Ghost Protocol" is sheer hurtling mechanism-and it's great silly fun."
—
New Yorker
Posted Dec 30, 2011
|
|
|
77%
|
War Horse (2011) |
"
We never ask why the production is devoted to an animal while ten million men are dying, but when Spielberg does the story realistically, it seems trivial, even a little daft."
—
New Yorker
Posted Dec 30, 2011
|
|
|
51%
|
The Iron Lady (2012) |
"
An oddly unsettling compound of glorification and malice that whirls around and winds up nowhere."
—
New Yorker
Posted Dec 27, 2011
|
|
|
75%
|
The Adventures of Tintin (2011) |
"
Tintin is exhausting, and, for all its wonders, it wears one out well before it's over."
—
New Yorker
Posted Dec 5, 2011
|
|
|
86%
|
The Girl with the Dragon Tattoo (2011) |
"
This is a bleak but mesmerizing piece of filmmaking; it offers a glancing, chilled view of a world in which brief moments of loyalty flicker between repeated acts of betrayal."
—
New Yorker
Posted Dec 5, 2011
|
|
|
94%
|
Hugo (2011) |
"
In Hugo, the hero has a terrifying dream, perhaps an unconscious recollection of that event. Reality, filmed illusion, and dreams are so intertwined that only an artist, playing merrily with echoes, can sort them into a scheme of delight."
—
New Yorker
Posted Nov 22, 2011
|
|
|
84%
|
My Week with Marilyn (2011) |
"
It's an expertly made, intentionally minor movie, though when Monroe, doping herself with everything available, lies in bed, confused and hapless, there are depressing intimations of the end to come."
—
New Yorker
Posted Nov 22, 2011
|
|
|
43%
|
J. Edgar (2011) |
"
The film moves fast, but Eastwood's touch is light and sure, his judgment sound, the moments of pathos held just long enough. And he cast the right star as his equivocal hero-fool."
—
New Yorker
Posted Nov 7, 2011
|
|
|
91%
|
Into The Abyss (2011) |
"
You come out shaken by the fathomless destructiveness of idiocy and the healing powers of belief and remediation."
—
New Yorker
Posted Nov 7, 2011
|
|
|
47%
|
Anonymous (2011) |
"
The more far-fetched the idea, it seems, the more strenuous the effort to pass it off as authentic."
—
New Yorker
Posted Oct 24, 2011
|
|
|
88%
|
Margin Call (2011) |
"
Margin Call is one of the strongest American films of the year and easily the best Wall Street movie ever made."
—
New Yorker
Posted Oct 24, 2011
|
|
|
81%
|
The Skin I Live In (2011) |
"
The most spontaneous of all movie artists has succumbed to "art," and the results are a disaster."
—
New Yorker
Posted Oct 17, 2011
|
|
|
92%
|
Take Shelter (2011) |
"
The movie makes you uncomfortable, but in a good way. Nichols has turned the current moment of American unease into a powerful metaphor."
—
New Yorker
Posted Oct 17, 2011
|
|
|
94%
|
Moneyball (2011) |
"
One of the most soulful of baseball movies -- it confronts the anguish of a very tough game."
—
New Yorker
Posted Sep 27, 2011
|
|
|
93%
|
50/50 (2011) |
"
A small winner; the director, Jonathan Levine ("The Wackness"), has a great touch, mordant but light-handed."
—
New Yorker
Posted Sep 27, 2011
|
|
|
84%
|
Contagion (2011) |
"
The presence of movie stars helps: their authority is part of what keeps us fascinated by the gruesome fable, juicing it a bit, so that we can actually enjoy it."
—
New Yorker
Posted Sep 13, 2011
|
|
|
82%
|
Rise of the Planet of the Apes (2011) |
"
Rise of the Planet of the Apes is spectacle with a kick: the transcendence of the normal in creatures so like ourselves is both an entertainment and a needling rebuke to human vanity."
—
New Yorker
Posted Aug 30, 2011
|
|
|
47%
|
Chasing Madoff (2011) |
"
The hero has a colorless, off-rhythm voice, dead eyes, disorderly hair. He's not, we gather, an imaginative man, but, a religious Greek Orthodox and a former Army officer, he's propelled by a strong sense of rectitude, an ethos of duty."
—
New Yorker
Posted Aug 30, 2011
|
|
|
51%
|
Brighton Rock (2011) |
"
The extreme innocence of Rose (Andrea Riseborough), the young girl whom Pinkie seduces in order to keep her quiet, is no longer very convincing, or even interesting."
—
New Yorker
Posted Aug 22, 2011
|
|
|
76%
|
The Help (2011) |
"
[The Help] is, in some ways, crude and obvious, but it opens up a broad new swath of experience on the screen, and parts of it are so moving and well acted that any objections to what's second-rate seem to matter less as the movie goes on."
—
New Yorker
Posted Aug 10, 2011
|
|
|
25%
|
The Change-Up (2011) |
"
This comedy doesn't work very well."
—
New Yorker
Posted Aug 8, 2011
|
|
|
79%
|
Captain America: The First Avenger (2011) |
"
It doesn't try too hard for irony or style; the comic-book sensibility remains pure, square, and happily stupid."
—
New Yorker
Posted Aug 1, 2011
|
|
|
70%
|
Friends With Benefits (2011) |
"
Friends with Benefits is fast, allusive, urban, glamorous -- clearly the Zeitgeist winner of the summer."
—
New Yorker
Posted Jul 25, 2011
|
|
|
78%
|
Crazy, Stupid, Love. (2011) |
"
A genial, messy comedy of marital discord and mismatched lovers. "
—
New Yorker
Posted Jul 25, 2011
|
|
|
91%
|
Tabloid (2011) |
"
Morris's subject is sexual fantasy and a particular kind of American stupidity-the ability to substitute self-justification for self-knowledge. His tone is merry."
—
New Yorker
Posted Jul 24, 2011
|
|
|
96%
|
Harry Potter and the Deathly Hallows - Part 2 (2011) |
"
When the movie was over, a young boy sitting behind me said, "That was great!" He was satisfied, and rightly so."
—
New Yorker
Posted Jul 15, 2011
|
|
|
87%
|
X-Men: First Class (2011) |
"
Looks and feels like a very cheesy Cold War-era B movie..."
—
New Yorker
Posted Jun 27, 2011
|
|
|
82%
|
Super 8 (2011) |
"
Spielberg and Abrams are the unwitting targets of their own irony."
—
New Yorker
Posted Jun 27, 2011
|
|
|
79%
|
Page One: Inside the New York Times (2011) |
"
It ignores the many other things the paper does well, such as foreign, financial, and national-affairs reporting, and Rossi misses the underbrush, the secret life and murmured music of the place."
—
New Yorker
Posted Jun 27, 2011
|
|
|
34%
|
The Hangover Part II (2011) |
"
The Hangover Part II isn't a dud, exactly -- some of it is very funny, and there are a few memorable jolts and outlandish dirty moments. But it feels, at times, like a routine adventure film set overseas."
—
New Yorker
Posted Jun 3, 2011
|
|
|
87%
|
Submarine (2011) |
"
A delicate and potent new British comedy."
—
New Yorker
Posted Jun 3, 2011
|
|
|
33%
|
Pirates of the Caribbean: On Stranger Tides (2011) |
"
Depp, grimacing, edges in and out of the action and seems irrelevant and bored most of the time."
—
New Yorker
Posted May 23, 2011
|
|
|
90%
|
Bridesmaids (2011) |
"
The movie is uneven and lurching, but it provides many laughs."
—
New Yorker
Posted May 23, 2011
|
|
|
93%
|
Midnight in Paris (2011) |
"
As a conceit, the visit with literary celebrities may be thin, and the episodes are brief and sketchy, but wish fulfillment is part of the movie's charm."
—
New Yorker
Posted May 23, 2011
|
|
|
60%
|
The Beaver (2011) |
"
As director, Foster, working with Kyle Killen's screenplay, treats the goofy premise with a literal earnestness -- as a family drama about separation and reunion -- that seems all wrong. A little wit would have helped."
—
New Yorker
Posted May 2, 2011
|
|
|
60%
|
Water for Elephants (2011) |
"
The movie rather embarrassingly sells chastity in the midst of what feels like a lawless situation. It's handsomely mounted but timid."
—
New Yorker
Posted May 2, 2011
|
|
|
84%
|
The Princess Of Montpensier (2011) |
"
Though the movie is often powerful and sexy, it's also opaque at its center."
—
New Yorker
Posted Apr 25, 2011
|
|
|
72%
|
Hanna (2011) |
"
An entertainingly nutty action thriller from the director Joe Wright."
—
New Yorker
Posted Apr 25, 2011
|
|
|
26%
|
Arthur (2011) |
"
A pitiable remake of the sloshed "classic" from 1981."
—
New Yorker
Posted Apr 25, 2011
|
|
|
85%
|
Meek's Cutoff (2011) |
"
It's a pleasureless, anti-sensuous aesthetic, but the movie, in its thorny, grudging way, is stirring, with many startling details."
—
New Yorker
Posted Apr 11, 2011
|
|
|
92%
|
Source Code (2011) |
"
The movie is a formally disciplined piece of work, a triumph of movie syntax, made with a sense of rhythm and pace, and Gyllenhaal, who is always good at conveying anxiety, gives Stevens's desperation a comic edge."
—
New Yorker
Posted Apr 11, 2011
|
|
|
10%
|
Red Riding Hood (2011) |
"
More "Twilight" than Grimm, and a terrible mess."
—
New Yorker
Posted Mar 28, 2011
|
|
|
74%
|
Winter in Wartime (2011) |
"
The film is stirring and visually beautiful but not quite interesting enough, morally or formally, to be first-rate."
—
New Yorker
Posted Mar 21, 2011
|
|
|
83%
|
Potiche (2011) |
"
Dreadful."
—
New Yorker
Posted Mar 21, 2011
|
