|
|
62%
|
Salt (2010) |
"
I can't say if this nicely crafted nonsense will sell as a franchise, but I know that I miss the unpretentiousness of the Bourne movies."
—
New Yorker
Posted Jul 26, 2010
|
|
|
86%
|
Inception (2010) |
"
An astonishment, an engineering feat, and, finally, a folly."
—
New Yorker
Posted Jul 19, 2010
|
|
|
52%
|
Knight & Day (2010) |
"
Jumpy, unmotivated, and senseless."
—
New Yorker
Posted Jun 28, 2010
|
|
|
80%
|
Cyrus (2010) |
"
The Duplasses' sensitivity, which is genuine, yields too much tepid relationship-speak, and Marisa Tomei, one of the most appealing actresses in Hollywood, is left with little to play."
—
New Yorker
Posted Jun 7, 2010
|
|
|
35%
|
Prince of Persia: The Sands of Time (2010) |
"
Prince of Persia is meant purely as light entertainment, but the way it draws on layers of junk is depressing."
—
New Yorker
Posted May 24, 2010
|
|
|
67%
|
Date Night (2010) |
"
Fey, in particular, finds herself in the situation of a prima ballerina unaccountably dancing with the Rockettes."
—
New Yorker
Posted Apr 12, 2010
|
|
|
13%
|
The Bounty Hunter (2010) |
"
Even considered as no more than an assembly-line Hollywood product, The Bounty Hunter falls well below factory standards."
—
New Yorker
Posted Mar 29, 2010
|
|
|
61%
|
Leaves of Grass (2010) |
"
The movie is a showcase for digital technology and for Norton's virtuosity, but I wish it weren't such a weightless shambles."
—
New Yorker
Posted Mar 29, 2010
|
|
|
41%
|
44 Inch Chest (2010) |
"
A very strange, often terrible affair that is nevertheless mesmerizing, in a limited way."
—
New Yorker
Posted Jan 25, 2010
|
|
|
32%
|
The Lovely Bones (2009) |
"
The Lovely Bones has been fashioned as a holiday family movie about murder and grief; it's a thoroughly queasy experience."
—
New Yorker
Posted Dec 7, 2009
|
|
|
62%
|
Brothers (2009) |
"
Brothers, the new home-from-the-war film, written by David Benioff and directed by Jim Sheridan, has been made with obvious devotion and sincerity, and I wish I could take it seriously."
—
New Yorker
Posted Dec 7, 2009
|
|
|
21%
|
Amelia (2009) |
"
Amelia is handsome yet predictable and high-minded -- not a dud, exactly, but too proper, too reserved for its swaggering subject."
—
New Yorker
Posted Oct 26, 2009
|
|
|
74%
|
Where the Wild Things Are (2009) |
"
I have a vision of eight-year-olds leaving the movie in bewilderment. Why are the creatures so unhappy?"
—
New Yorker
Posted Oct 12, 2009
|
|
|
75%
|
Capitalism: A Love Story (2009) |
"
Michael Moore's Capitalism: A Love Story is something else -- not a good movie or a coherent exposition of the meltdown but an emotional attack on capitalism as a system, an attempt, literally, to de-moralize capitalism."
—
New Yorker
Posted Sep 28, 2009
|
|
|
89%
|
A Serious Man (2009) |
"
As a piece of moviemaking craft, A Serious Man is fascinating; in every other way, it's intolerable."
—
New Yorker
Posted Sep 28, 2009
|
|
|
89%
|
Inglourious Basterds (2009) |
"
Inglourious Basterds is not boring, but it's ridiculous and appallingly insensitive-a Louisville Slugger applied to the head of anyone who has ever taken the Nazis, the war, or the Resistance seriously."
—
New Yorker
Posted Aug 17, 2009
|
|
|
20%
|
Transformers: Revenge of the Fallen (2009) |
"
The movie rages on for a hundred and fifty minutes and then just stops, pausing for the next sequel."
—
New Yorker
Posted Jun 29, 2009
|
|
|
68%
|
Public Enemies (2009) |
"
The movie is emotionally neutered."
—
New Yorker
Posted Jun 29, 2009
|
|
|
43%
|
Night at the Museum 2: Battle of the Smithsonian (2009) |
"
The result is pretty much a free-form traffic jam in which everyone fights everyone else."
—
New Yorker
Posted Jun 1, 2009
|
|
|
37%
|
Angels & Demons (2009) |
"
If these movies made any damned sense, the public response might be no more than a yawn."
—
New Yorker
Posted May 18, 2009
|
|
|
38%
|
X-Men Origins - Wolverine (2009) |
"
Alas, there's nothing quite memorable here: much of the combat is just a whirl of movement photographed up close. As the X-Men series has progressed, the startling poetic extravagances of the first film have given way to flesh-pounding clumsiness."
—
New Yorker
Posted May 4, 2009
|
|
|
84%
|
State of Play (2009) |
"
The three screenwriters may have been trying to work too many plot strands into two hours; in any case, State of Play is both overstuffed and inconclusive."
—
New Yorker
Posted Apr 20, 2009
|
|
|
90%
|
Hunger (2009) |
"
In the end, even though I recognized the need to be reminded of Guantánamo and of crimes carried out there, I was awed but not moved by Hunger."
—
New Yorker
Posted Mar 23, 2009
|
|
|
59%
|
The International (2009) |
"
Killer banks may be new to the movies, but there's nothing else original in this if-it's-Tuesday-this-must-be-Istanbul thriller, with its portentous globe-hopping and racing through colorful street bazaars."
—
New Yorker
Posted Feb 23, 2009
|
|
|
51%
|
Notorious (2009) |
"
The movie leaves us with the sense that, twelve years after Biggie Smalls's death, a lot of people are trying to extract whatever profit or pride they can from the chaotic life of a young man who was, as he well knew, a work in progress."
—
New Yorker
Posted Jan 20, 2009
|
|
|
55%
|
Australia (2008) |
"
Luhrmann is drawn to kitsch as inevitably as a bear to honey."
—
New Yorker
Posted Dec 1, 2008
|
|
|
65%
|
Zack and Miri Make a Porno (2008) |
"
Kevin Smith turns out to be reverent after all: he wants to separate true love from mere copulating for money, but his story mixes romance and porn so inextricably that he seems confused, and the movie trips over its own conceits."
—
New Yorker
Posted Nov 3, 2008
|
|
|
62%
|
Changeling (2008) |
"
Changeling is beautifully wrought, but it has the abiding fault of righteously indignant filmmaking."
—
New Yorker
Posted Oct 20, 2008
|
|
|
59%
|
W. (2008) |
"
W. feels poorly timed: too late to have any effect on the public, most of whom long ago checked out on the President, and too early to provide more than a schematic interpretation of who he is."
—
New Yorker
Posted Oct 20, 2008
|
|
|
19%
|
Righteous Kill (2008) |
"
The movie is hectic, exhausting, and baffling."
—
New Yorker
Posted Sep 22, 2008
|
|
|
78%
|
Burn After Reading (2008) |
"
Even black comedy requires that the filmmakers love someone, and the mock cruelties in Burn After Reading come off as a case of terminal misanthropy."
—
New Yorker
Posted Sep 8, 2008
|
|
|
63%
|
Traitor (2008) |
"
The filmmakers, I think, got in over their heads and couldn't decide whether they were making an action thriller or a drama of conscience; they wound up flubbing both."
—
New Yorker
Posted Aug 25, 2008
|
|
|
94%
|
The Dark Knight (2008) |
"
This movie is grim and jammed together. The narrative isn't shaped coherently to bring out contrasts and build toward a satisfying climax. The Dark Knight is constant climax; it's always in a frenzy, and it goes on forever."
—
New Yorker
Posted Jul 14, 2008
|
|
|
37%
|
You Don't Mess with the Zohan (2008) |
"
This moviegoer has no trouble with lowbrow comedy. The problem with Zohan, however, is that it's like a kid who tells you a silly joke, gets a laugh, and immediately tells the same joke again."
—
New Yorker
Posted Jun 16, 2008
|
|
|
67%
|
The Incredible Hulk (2008) |
"
Digital spectacle is both too much and too little, and it's beginning to put some of us in a funk of disappointment and boredom. When you've seen one half-ton piece of metal flung through the air, you've seen them all."
—
New Yorker
Posted Jun 16, 2008
|
|
|
78%
|
Indiana Jones and the Kingdom of the Crystal Skull (2008) |
"
Crystal Skull isn't bad -- there are a few dazzling sequences, and a couple of good performances -- but the unprecedented blend of comedy and action that made the movies so much more fun than any other adventure series is mostly gone."
—
New Yorker
Posted May 27, 2008
|
|
|
93%
|
Iron Man (2008) |
"
There's a slightly depressed, going-through-the-motions feel to the entire show."
—
New Yorker
Posted Apr 28, 2008
|
|
|
84%
|
Forgetting Sarah Marshall (2008) |
"
It's not hard, it turns out, to forget Sarah Marshall. The problem is remembering her."
—
New Yorker
Posted Apr 14, 2008
|
|
|
30%
|
Boarding Gate (2008) |
"
[Director Assayas] may have something serious to say about the brutal impersonality of global capitalism, yet he's caught somewhere between insight and exploitation."
—
New Yorker
Posted Mar 17, 2008
|
|
|
40%
|
The Bucket List (2007) |
"
In general, the light is golden, the mood technologically sublime, the actuality of the experience a dead zero."
—
New Yorker
Posted Jan 4, 2008
|
|
|
74%
|
Walk Hard: The Dewey Cox Story (2007) |
"
Walk Hard runs down quickly, and suffers further from having the wide-eyed and weightless Reilly as its star."
—
New Yorker
Posted Jan 4, 2008
|
|
|
52%
|
Margot at the Wedding (2007) |
"
Margot is sensually as well as dramatically impoverished."
—
New Yorker
Posted Nov 12, 2007
|
|
|
82%
|
Into the Wild (2007) |
"
Sean Penn's Into the Wild is certainly visual -- it's entirely too visual, to the point of being cheaply lyrical."
—
New Yorker
Posted Oct 1, 2007
|
|
|
33%
|
The Nanny Diaries (2007) |
"
The Nanny Diaries, despite many bright moments and a superior level of craftsmanship, is now a flabby urban fairy tale."
—
New Yorker
Posted Aug 27, 2007
|
|
|
27%
|
Evening (2007) |
"
This is one of the rare movies that are too sensitive for their own good."
—
New Yorker
Posted Jun 25, 2007
|
|
|
92%
|
Sicko (2007) |
"
Moore winds up treating the audience the same way that, he says, powerful people treat the weak in America -- as dopes easily satisfied with fairy tales and bland reassurances."
—
New Yorker
Posted Jun 25, 2007
|
|
|
70%
|
Ocean's Thirteen (2007) |
"
After a lot of buildup, not much happens at the climax."
—
New Yorker
Posted Jun 4, 2007
|
|
|
29%
|
Lucky You (2007) |
"
Most of Lucky You, starting with the title, is ordinary or outright awful. Moviemakers, it seems, cannot bluff their way to success."
—
New Yorker
Posted May 7, 2007
|
|
|
70%
|
Year of the Dog (2007) |
"
The movie's meaning seems to be: we're all crippled in some way, so just live with it -- celebrate it, even. That isn't satire; it's moss-brained sentiment that turns 'sensitivity' into a dimly dejected view of life."
—
New Yorker
Posted Apr 16, 2007
|
|
|
83%
|
Grindhouse (2007) |
"
Tarantino and Rodriguez assume that we'll relish the movie's violence or shrug it off as play, as they do, but not everyone in the audience will want his enjoyment of it taken for granted that way."
—
New Yorker
Posted Apr 9, 2007
|
