|
|
97%
|
Gravity (2013) |
"
Gravity is not a film of ideas, like Kubrick's techno-mystical 2001, but it's an overwhelming physical experience -- a challenge to the senses that engages every kind of dread."
—
New Yorker
Posted Oct 4, 2013
|
|
|
82%
|
Don Jon (2013) |
"
The movie takes a roundhouse punch at male shallowness, but Jon, in and out of his clothes, is not an interesting enough man to be emblematic of anything."
—
New Yorker
Posted Sep 23, 2013
|
|
|
34%
|
Salinger (2013) |
"
Salinger is self-important, redundant, and interminable."
—
New Yorker
Posted Sep 17, 2013
|
|
|
81%
|
Prisoners (2013) |
"
A sombrely impressive thriller in the style of Mystic River and Zodiac."
—
New Yorker
Posted Sep 17, 2013
|
|
|
91%
|
Our Nixon (2013) |
"
[A] shrewdly edited collection of news footage and "home movies" taken by members of the Nixon White House staff ..."
—
New Yorker
Posted Sep 16, 2013
|
|
|
54%
|
Lovelace (2013) |
"
Seyfried, with her huge features crowding her small face, looks like Alice in a very strange Wonderland. But whatever possibilities she may have as an actress are eradicated by the filmmakers ..."
—
New Yorker
Posted Sep 2, 2013
|
|
|
73%
|
Lee Daniels' The Butler (2013) |
"
A high-minded, didactic, but irresistible entertainment ..."
—
New Yorker
Posted Sep 2, 2013
|
|
|
90%
|
The Simpsons Movie (2007) |
"
The incomparable gang at full length for the first time, with enough jokes, satire, nonsense, and sentiment to justify the eighty-eight minutes."
—
New Yorker
Posted Aug 4, 2013
|
|
|
99%
|
Toy Story 3 (2010) |
"
There are many sweet laughs and joking allusions to horror and prison-break movies, but the Pixar gang gets at the most primary fear -- being cast off and no longer of use."
—
New Yorker
Posted Aug 4, 2013
|
|
|
98%
|
Jaws (1975) |
"
Spielberg may be the man who created the new Hollywood, but in his first megahit he summed up what was best in the old -- the humor, the perversity, and the storytelling integrity of Alfred Hitchcock."
—
New Yorker
Posted Jul 29, 2013
|
|
|
91%
|
The Spectacular Now (2013) |
"
Most of it has the melancholy sense of life just passing by -- until, that is, someone has the courage to grab it and make it take some meaning and form."
—
New Yorker
Posted Jul 29, 2013
|
|
|
22%
|
The Canyons (2013) |
"
The Canyons might have been more fun if it had a trashier, or less austere, style."
—
New Yorker
Posted Jul 29, 2013
|
|
|
52%
|
The To Do List (2013) |
"
It's good-natured and raucous, with many scenes that are just sketched but a few that are truly funny."
—
New Yorker
Posted Jul 29, 2013
|
|
|
94%
|
Fruitvale Station (2013) |
"
Fruitvale Station sums up Oscar's life, but the act of summing up can tell us only so much, since a young life is still a maze of promise and indecision."
—
New Yorker
Posted Jul 24, 2013
|
|
|
91%
|
Blue Jasmine (2013) |
"
In all, this is the strongest, most resonant movie Woody Allen has made in years."
—
New Yorker
Posted Jul 24, 2013
|
|
|
56%
|
Man of Steel (2013) |
"
The movie consists of endless declamation, endless violence."
—
New Yorker
Posted Jul 1, 2013
|
|
|
50%
|
Now You See Me (2013) |
"
Complicated nonsense about four professional magicians caught up in an elaborate revenge plot."
—
New Yorker
Posted Jul 1, 2013
|
|
|
67%
|
World War Z (2013) |
"
Despite some conventional passages and a soft ending, Forster and Brad Pitt, who is a producer of the film as well as its star, pulled the picture together. They also managed to reawaken in a large-scale movie the experience of shock."
—
New Yorker
Posted Jun 21, 2013
|
|
|
49%
|
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 (1966) |
"
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
|
|
|
42%
|
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
|
|
|
88%
|
What Maisie Knew (2013) |
"
There is much anger, betrayal, and cruelty as the girl's watchful eyes take in everything and she learns, slowly, what she must do to survive."
—
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
|
|
|
81%
|
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
|
|
|
79%
|
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
|
|
|
44%
|
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
|
|
|
55%
|
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
|
|
|
72%
|
Renoir (2013) |
"
The director Gilles Bourdos's sunshiny Portrait of the Artist as an Old Man."
—
New Yorker
Posted Apr 8, 2013
|
|
|
82%
|
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
|
|
|
47%
|
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
|
|
|
100%
|
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
|
|
|
44%
|
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
|
