|
4/4
|
83%
|
Fill the Void (2013) |
"
A lesser filmmaker would have condescended to this world, but Rama Burshtein, an Orthodox woman herself, treats it with abiding respect. Her movie is a masterpiece."
—
amNewYork
Posted May 23, 2013
|
|
3.5/4
|
97%
|
Before Midnight (2013) |
"
The actors have mastered these roles, and Linklater's observational style is so perfected that they could go on speaking for hours"
—
amNewYork
Posted May 23, 2013
|
|
3.5/4
|
88%
|
We Steal Secrets: The Story Of Wikileaks (2013) |
"
Smartly transforms the WikiLeaks story into a character study, filtering the events through the unpacking of Julian Assange and Bradley Manning."
—
Film School Rejects
Posted May 23, 2013
|
|
2/4
|
21%
|
The Hangover Part III (2013) |
"
Disinterest rules the day: Everyone from director Todd Phillips to the cast seems bored, going through the motions in the hope that things wrap up quickly."
—
amNewYork
Posted May 23, 2013
|
|
3/4
|
88%
|
Behind the Candelabra () |
"
Douglas doesn't just mimic Liberace's mannerisms. He transforms the quiet moments into an affecting portrait of a performer whose time in the spotlight is ending."
—
amNewYork
Posted May 22, 2013
|
|
3/4
|
44%
|
Black Rock (2013) |
"
Efficient thriller that's practically a feature-length evocation of Thomas Hobbes' notion of life in nature: "nasty, brutish and short.""
—
amNewYork
Posted May 17, 2013
|
|
4/4
|
93%
|
Frances Ha (2013) |
"
A great film that gets the spirit of New York exactly right:"
—
amNewYork
Posted May 16, 2013
|
|
2/4
|
38%
|
Aftershock (2013) |
"
If you're in the midst of such a massive quake, with destruction everywhere, the last thing you should be doing is worrying about escaped murderer-rapist prisoners."
—
amNewYork
Posted May 10, 2013
|
|
3/4
|
79%
|
Venus And Serena (2013) |
"
Less hagiography than a movie about an unusual, fascinating bond between sisters."
—
amNewYork
Posted May 10, 2013
|
|
3/4
|
94%
|
Stories We Tell (2013) |
"
The movie is convincingly built around the essential truth that we are ultimately defined by our loved ones' memories and perceptions."
—
amNewYork
Posted May 10, 2013
|
|
3.5/4
|
50%
|
The Great Gatsby (2013) |
"
This enormous movie is as much of a reflection of its protagonist as its director, offering a window into an exclusive world as it is conceived and formed in a dream."
—
amNewYork
Posted May 7, 2013
|
|
2.5/4
|
76%
|
Dead Man's Burden (2013) |
"
The movie offers a convincing look at the sort of irreparable damage the Civil War did to families, but too often it feels like self-conscious role-play."
—
amNewYork
Posted May 5, 2013
|
|
3/4
|
68%
|
The Iceman (2013) |
"
The film is at its best when it navigates the contradiction at the heart of this man, generating interest and tension as it parallels his home life with his profession."
—
amNewYork
Posted May 5, 2013
|
|
3.5/4
|
88%
|
What Maisie Knew (2013) |
"
The film hits home thanks to a stunning performance by Onata Aprile. At age 7, Aprile has mastered the steepest challenge in screen acting: reacting in an engaging way."
—
amNewYork
Posted May 5, 2013
|
|
3/4
|
55%
|
The Reluctant Fundamentalist (2013) |
"
It's a middlebrow drama, but Changez's transition from elitist Princeton grad living the Wall Street dream to radical Lahore professor is depicted in convincing fashion."
—
amNewYork
Posted Apr 26, 2013
|
|
2.5/4
|
24%
|
Arthur Newman (2013) |
"
This is a decidedly minor effort, directed by Dante Ariola with a bland, generic eye, missing the pathos of interesting drama and the charm of quality romantic cinema."
—
amNewYork
Posted Apr 26, 2013
|
|
3/4
|
99%
|
Mud (2013) |
"
An evocative drama set at the precipice of adulthood."
—
amNewYork
Posted Apr 26, 2013
|
|
1/4
|
8%
|
The Big Wedding (2013) |
"
The Big Wedding is the kind of movie where casting Christine Ebersole as a woman named Muffin is seen as the height of comedy. No thanks."
—
amNewYork
Posted Apr 25, 2013
|
|
3.5/4
|
49%
|
At Any Price (2013) |
"
The sense of place is strong. Bahrani's preferred neo-neo realist approach is dressed up with epic, wide images of windmills grinding in the breeze, enormous seed processors and cars streaming down country roads."
—
amNewYork
Posted Apr 24, 2013
|
|
3.5/4
|
77%
|
42 (2013) |
"
The movie is sentimental, and it has a right to be, but the actors take great pains to portray their characters as men and women in full."
—
amNewYork
Posted Apr 12, 2013
|
|
3/4
|
76%
|
It's a Disaster (2013) |
"
The apocalypse is the catalyst for a dissection of modern self-absorption; there's nothing like a major disaster to rouse you from a technologically-induced zombie state."
—
amNewYork
Posted Apr 12, 2013
|
|
3/4
|
67%
|
Disconnect (2013) |
"
Working with a strong cast and a well-crafted Andrew Stern script, director Henry Alex Rubin has woven an effective tapestry of modern alienation."
—
amNewYork
Posted Apr 12, 2013
|
|
2/4
|
27%
|
The Brass Teapot (2013) |
"
The screenplay falters, introducing ridiculous villains and featuring thorough lapses in logic in a blur of strained drama. "
—
amNewYork
Posted Apr 12, 2013
|
|
2.5/4
|
88%
|
Upstream Color (2013) |
"
The movie's deep emotional underpinnings are compromised by too many images that skew toward a dense, abstract sensibility."
—
amNewYork
Posted Apr 12, 2013
|
|
2/4
|
55%
|
The Company You Keep (2013) |
"
A sincere thriller that feels like it has arrived at least a half-decade behind schedule."
—
amNewYork
Posted Apr 12, 2013
|
|
2/4
|
9%
|
The Host (2013) |
"
The only real conflict here is the one going on inside the protagonist's head, while poor Saoirse Ronan has little to do but look very uncomfortable."
—
amNewYork
Posted Mar 28, 2013
|
|
2.5/4
|
82%
|
The Place Beyond The Pines (2013) |
"
The movie settles into conventional rhythms once the focus shifts to Bradley Cooper and completely loses its way after that. "
—
amNewYork
Posted Mar 28, 2013
|
|
2.5/4
|
51%
|
Welcome to the Punch (2013) |
"
Angry men mumble as they point guns at each other in a series of standoffs in Welcome to the Punch, and it almost works. "
—
amNewYork
Posted Mar 28, 2013
|
|
2/4
|
70%
|
Wrong (2013) |
"
There's off-kilter style to spare: empty frames, heightened sterile imagery and mannered performances. But there's nothing below the surface that we haven't seen before."
—
amNewYork
Posted Mar 28, 2013
|
|
3/4
|
94%
|
Room 237 (2013) |
"
Like any great puzzle, The Shining is a lot of fun to try and solve. "
—
amNewYork
Posted Mar 28, 2013
|
|
3.5/4
|
91%
|
Gimme The Loot (2013) |
"
Writer-director Adam Leon has crafted a classic New York story, a film imbued with the fast rhythms and muggy sensations of city life during the summer. "
—
amNewYork
Posted Mar 22, 2013
|
|
3/4
|
93%
|
The Sapphires (2013) |
"
It sidesteps the usual cliches. Fame and fortune matter less than the human connections that are fostered and repaired on this unlikely journey."
—
amNewYork
Posted Mar 22, 2013
|
|
2.5/4
|
47%
|
Olympus Has Fallen (2013) |
"
Those who might be resistant to stirrings of patriotic pride at the slow-mo sight of an American flag fluttering in the breeze would do well to look elsewhere."
—
amNewYork
Posted Mar 22, 2013
|
|
3/4
|
43%
|
Admission (2013) |
"
These guys could make taxes seem charming. Pair them up romantically and surround them with a competent three-act screenplay and the rest takes care of itself. "
—
amNewYork
Posted Mar 22, 2013
|
|
2.5/4
|
66%
|
Spring Breakers (2013) |
"
With its violence, copious drug use, threesomes and scenes of the women in tiny bikinis, the movie revels in the debauchery without saying much about it."
—
amNewYork
Posted Mar 15, 2013
|
|
3/4
|
29%
|
Upside Down (2013) |
"
Director Juan Solanas has produced such an immense cinematic vision that the flaws ultimately don't matter."
—
amNewYork
Posted Mar 15, 2013
|
|
3/4
|
79%
|
Ginger & Rosa (2013) |
"
Mostly, Sally Potter gets out of the way and lets Elle Fanning do her work. The faith is rewarded. She's just 14, but Dakota's younger sister is our next great actress."
—
amNewYork
Posted Mar 15, 2013
|
|
3.5/4
|
96%
|
War Witch (2013) |
"
The portrait of a girl who retains her dignity and strength, her faith in the future, in the face of unimaginable horrors. It's inspirational in a very real way."
—
amNewYork
Posted Mar 8, 2013
|
|
3.5/4
|
65%
|
Don't Stop Believin': Everyman's Journey (2013) |
"
You'd be hard pressed too many other documentaries that leave you feeling so damn great."
—
amNewYork
Posted Mar 7, 2013
|
|
2/4
|
66%
|
The We and the I (2013) |
"
Evoking a New York City commuter's nightmare, this movie aims for poignancy but achieves mostly exasperation."
—
amNewYork
Posted Mar 7, 2013
|
|
2/4
|
30%
|
Emperor (2013) |
"
The facts might be right, or at least mostly right, but the film is polished to the point of distraction."
—
amNewYork
Posted Mar 7, 2013
|
|
3/4
|
67%
|
Stoker (2013) |
"
The movie is a carnival of sinister images, combined to create a demented portrait of hormones run wild."
—
amNewYork
Posted Mar 1, 2013
|
|
2.5/4
|
25%
|
Phantom (2013) |
"
We get stern orders, dry technospeak and the occasional physical incident, but far less than what's required in such an apocalyptic setting."
—
amNewYork
Posted Mar 1, 2013
|
|
2/4
|
19%
|
Inescapable (2013) |
"
The movie suffers from the conflict between its potboiler instincts and the filmmaker's understandable need to acknowledge the brutality of Syria's secretive regime."
—
amNewYork
Posted Mar 1, 2013
|
|
3/4
|
60%
|
Rubberneck (2013) |
"
Alex Karpovsky's performance digs out the character's menacing, damaged and sympathetic qualities in equal measure."
—
amNewYork
Posted Mar 1, 2013
|
|
2.5/4
|
46%
|
Beautiful Creatures (2013) |
"
Everything is so low-key it doesn't really stick, which is strange when you consider that the movie is about nothing less than a supernatural war over a teenage girl's soul."
—
amNewYork
Posted Feb 17, 2013
|
|
3/4
|
82%
|
Like Someone in Love (2013) |
"
A meticulously constructed depiction of modern alienation, from the great Abbas Kiarostami. "
—
amNewYork
Posted Feb 17, 2013
|
|
3/4
|
92%
|
No (2013) |
"
A fascinating period re-creation if not an especially compelling drama. "
—
amNewYork
Posted Feb 17, 2013
|
|
3/4
|
85%
|
Side Effects (2013) |
"
Every new Soderbergh film, even the failures, is a gift for viewers who love movies. Side Effects is no exception."
—
amNewYork
Posted Feb 10, 2013
|
72%
21%
63%
85%
46%
40%
