|
4/5
|
56%
|
A Perfect Murder (1998) |
"
His [Davis] direction is swift and very effective, and the movie, shot in shades of ebony (the color of black marble), looks exceptionally handsome."
—
New York Magazine
Posted Jan 1, 2000
|
|
|
85%
|
Farewell (L'affaire Farewell) (2010) |
"
The movie is stunningly intelligent; the concluding passages, in which the game abruptly ends for both men, are frightening and, finally, very moving."
—
New Yorker
Posted Jul 26, 2010
|
|
|
87%
|
Please Give (2010) |
"
Life-goes-on movies usually don't electrify the senses, but this one stimulates moral imagination."
—
New Yorker
Posted Jul 6, 2010
|
|
|
94%
|
Winter's Bone (2010) |
"
What we've been waiting for: a work of art that grabs hold and won't let go."
—
New Yorker
Posted Jun 28, 2010
|
|
|
72%
|
Get Him to the Greek (2010) |
"
The movie's story is conventional in shape, but it has passages of crazy exhilaration and brilliant invention."
—
New Yorker
Posted Jun 7, 2010
|
|
|
75%
|
John Rabe (2010) |
"
One of the main virtues of John Rabe is to demonstrate that, however much we know about the worst of all wars, it still has little-known corners that can amaze us."
—
New Yorker
Posted May 24, 2010
|
|
|
69%
|
Babies (2010) |
"
The movie is pleasing -- who doesn't love gurgling babies? -- but as anodyne as a series of episodes from America's Funniest Home Videos."
—
New Yorker
Posted May 10, 2010
|
|
|
90%
|
The Oath (2010) |
"
Poitras's movie digs deep; it hints at the violently conflicting drives that an intelligent human being may be liable to."
—
New Yorker
Posted May 10, 2010
|
|
|
91%
|
The Secret in Their Eyes (El Secreto de Sus Ojos) (2010) |
"
From scene to scene, the movie has an enormously vital swing to it."
—
New Yorker
Posted Apr 12, 2010
|
|
|
81%
|
City Island (2010) |
"
[It] won't put [Garcia] back on the main road, but he tries some new things in it, and it's fun to watch him work."
—
New Yorker
Posted Mar 29, 2010
|
|
|
92%
|
Vincere (2010) |
"
Her story is one of endurance and martyrdom, and Bellocchio treats her with grave courtesy, focussing on her battered face as she is subjected to years of beatings in the asylum, and on her drive to escape."
—
New Yorker
Posted Mar 15, 2010
|
|
|
75%
|
Greenberg (2010) |
"
This is tricky, ambiguous material, seemingly better fitted to a short literary novel than to a movie, and it could have gone wrong in a hundred ways, yet Baumbach handles it with great assurance."
—
New Yorker
Posted Mar 15, 2010
|
|
|
83%
|
The Ghost Writer (2010) |
"
The best thing Polanski has done since the seventies, when he brought out the incomparable Chinatown and the very fine Tess."
—
New Yorker
Posted Mar 1, 2010
|
|
|
86%
|
Red Riding Trilogy () |
"
The Red Riding Trilogy is an exhausting, morbidly fascinating, and finally thrilling experience."
—
New Yorker
Posted Feb 8, 2010
|
|
|
79%
|
Politist, adj. (Police, Adjective) (2009) |
"
Simultaneously a police procedural, an analysis of language and imagery, a philosophical debate about law and justice, and a very, very dry Romanian Martini -- so dry that, at first, one doesn't quite taste much of anything."
—
New Yorker
Posted Jan 25, 2010
|
|
|
70%
|
Sherlock Holmes (2009) |
"
Downey and Law are terrific together. For me, watching them act is the movie's principal pleasure."
—
New Yorker
Posted Dec 16, 2009
|
|
|
83%
|
Avatar (2009) |
"
James Cameron's Avatar is the most beautiful film I've seen in years."
—
New Yorker
Posted Dec 16, 2009
|
|
|
91%
|
Crazy Heart (2009) |
"
If ever a movie demonstrated how country music emerges from private sorrows, this is it. But something can always be done to make a movie better."
—
New Yorker
Posted Dec 7, 2009
|
|
|
70%
|
The Last Station (2010) |
"
It's the most emotionally naked work of Mirren's movie career; she gives poetic form to the madness and the violence of commonplace jealousy."
—
New Yorker
Posted Dec 7, 2009
|
|
|
87%
|
Bad Lieutenant: Port of Call New Orleans (2009) |
"
Herzog, who seems to be drawing on the audience's affection for him as an inspired madman, may not care to tell a story straight anymore."
—
New Yorker
Posted Nov 23, 2009
|
|
|
85%
|
Me and Orson Welles (2009) |
"
Quippy, fast, and enjoyably corny, Welles is like a musical comedy without songs."
—
New Yorker
Posted Nov 23, 2009
|
|
|
44%
|
The Box (2009) |
"
Kelly, as he did in Donnie Darko, avoids obvious scare techniques. Instead, he makes the bizarre, the surreal, and the frightening emerge from normal reality."
—
New Yorker
Posted Nov 9, 2009
|
|
|
90%
|
The Messenger (2009) |
"
This is a fully felt, morally alert, marvellously acted piece of work. Despite the grim subject, it's a sweet-tempered movie, with moments of explosive humor -- an entertainment."
—
New Yorker
Posted Nov 9, 2009
|
|
|
88%
|
La Danse -- Le Ballet de l'Opera de Paris (2009) |
"
It's a joyous experience to see an institution in full flower-- to see not dereliction and disorder but the many forms of striving and virtue."
—
New Yorker
Posted Oct 26, 2009
|
|
|
——
|
You Cannot Start Without Me: Valery Gergiev, Maestro (2009) |
"
The movie, though conventional in form, brings us close to an elemental ferocity just barely held in check."
—
New Yorker
Posted Oct 26, 2009
|
|
|
94%
|
An Education (2009) |
"
I have a feeling that Sarsgaard could have stretched the role a lot further if the script had allowed him to, but, still, what he does is surprising."
—
New Yorker
Posted Oct 12, 2009
|
|
|
83%
|
Bright Star (2009) |
"
There's a full complement of geese and mud and some women in bonnets, but Campion avoids finery and ceremony. She doesn't show off the period; she triumphantly makes it a time in which people live as best they can."
—
New Yorker
Posted Sep 14, 2009
|
|
|
78%
|
The Informant! (2009) |
"
The Informant! is a return to form for Soderbergh, who couldn't seem to put anything resembling an emotional charge into his recent films...This time, Soderbergh is in full control, and his star is on fire."
—
New Yorker
Posted Sep 14, 2009
|
|
|
96%
|
Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (2009) |
"
The movie is an act of hero worship, but it inadvertently suggests that, without a necessary touch of grandiosity, Ellsberg might never have acted as bravely as he did."
—
New Yorker
Posted Aug 31, 2009
|
|
|
69%
|
American Casino (2009) |
"
The Cockburns have finally made a movie about a nuclear disaster that actually happened -- their subject is the social ecology of financial meltdown."
—
New Yorker
Posted Aug 31, 2009
|
|
|
75%
|
Julie & Julia (2009) |
"
Julie & Julia is one of the gentlest, most charming American movies of the past decade."
—
New Yorker
Posted Aug 17, 2009
|
|
|
68%
|
Funny People (2009) |
"
Funny People is leisurely, with many extended sequences, but the performers' natural command of rhythm holds it in tension."
—
New Yorker
Posted Jul 27, 2009
|
|
|
96%
|
Food, Inc. (2009) |
"
An angry blast of disgust aimed at the American food industry."
—
New Yorker
Posted Jun 22, 2009
|
|
|
97%
|
The Hurt Locker (2009) |
"
The Hurt Locker is a small classic of tension, bravery, and fear, which will be studied twenty years from now when people want to understand something of what happened to American soldiers in Iraq."
—
New Yorker
Posted Jun 22, 2009
|
|
|
67%
|
Away We Go (2009) |
"
Some of the episodes are ripely satirical, others almost heartbreaking."
—
New Yorker
Posted Jun 1, 2009
|
|
|
98%
|
Up (2009) |
"
The movie is packed with lovely jokes, some of them funny in inexplicable ways."
—
New Yorker
Posted Jun 1, 2009
|
|
|
93%
|
L'Heure d'été (Summer Hours) (2009) |
"
In the end, Assayas, shooting the film with relaxed, flowing camera movements, gives his love not to beautiful objects but to the disorderly life out of which art is made."
—
New Yorker
Posted May 18, 2009
|
|
|
84%
|
Tyson (2009) |
"
Those who were furious at Tyson will be made even angrier by Toback's film, for here is a fresh provocation-an attempt to restore to Tyson the human dimensions that have been taken from him (by himself, of course, as well as by others)."
—
New Yorker
Posted May 4, 2009
|
|
|
39%
|
Fighting (2009) |
"
The fights may not be very convincing, but the story's underdog structure is satisfying in a happy-cliché sort of way. Fighting is Rocky without the bombast, Fight Club without the daft metaphysical pretensions."
—
New Yorker
Posted May 4, 2009
|
|
|
56%
|
The Soloist (2009) |
"
I don't know if Beethoven and a sympathetic newspaper reporter can redeem a messy American city, but this movie makes a plausible case for so fervent a dream."
—
New Yorker
Posted Apr 20, 2009
|
|
|
95%
|
Goodbye Solo (2009) |
"
Creating his fiction shrewdly, Ramin Bahrani ultimately suggests that finality, too, has its beauty, and must be valued as much as endless possibility."
—
New Yorker
Posted Apr 6, 2009
|
|
|
88%
|
Adventureland (2009) |
"
The story is semi-autobiographical, but has a gentler touch than his prior work on Superbad, and certainly relies less on slapstick episodes."
—
New Yorker
Posted Apr 6, 2009
|
|
|
64%
|
Duplicity (2009) |
"
Duplicity is an enormously enjoyable hybrid, a romantic comedy set at the center of a caper movie."
—
New Yorker
Posted Mar 23, 2009
|
|
|
89%
|
Coraline (2009) |
"
A gift to imagination."
—
New Yorker
Posted Feb 23, 2009
|
|
|
92%
|
Katyn (2009) |
"
A stunning, epic film."
—
New Yorker
Posted Feb 23, 2009
|
|
|
83%
|
Kirschblüten - Hanami (Cherry Blossoms) (2008) |
"
The movie's conceits are just barely endurable, but the sharpness of Dörrie's eye -- for Tokyo's electric night, for Fuji's iconographic landscapes, for cherry blossoms -- sustains emotion even when story logic fails."
—
New Yorker
Posted Jan 20, 2009
|
|
|
85%
|
Wendy and Lucy (2008) |
"
The movie, for all its morose impassivity, is beautiful and haunting."
—
New Yorker
Posted Jan 20, 2009
|
|
|
92%
|
La Graine et le Mulet (The Secret of the Grain) (Couscous) (2007) |
"
[Director] Kechiche digs a good story out of the flux, and, in the movie's final forty minutes, the suspense is terrific."
—
New Yorker
Posted Jan 5, 2009
|
|
|
57%
|
Defiance (2009) |
"
The picture offers the most moving account we've ever had of how an ordinary, rather disagreeable man, challenged and then electrified by catastrophe, grows into a great leader."
—
New Yorker
Posted Jan 5, 2009
|
|
|
97%
|
The Class (2008) |
"
The Class is a prime document of French post-colonial blues, though its relevance to American urban education could not be any greater if it had been made in the Bronx or Trenton or South Los Angeles."
—
New Yorker
Posted Dec 15, 2008
|
