Roger Greenspun

Roger Greenspun

Agrees with the Tomatometer 69% of the time.

Publications:
Film Comment Magazine , New York Times
Total Reviews:
149

Listing Of All Reviews & Articles

Showing 1 - 50 of 149
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Rating T-Meter Title | Year Add Date
2.5/5 —— Who Says I Can't Ride a Rainbow! (Barney) " Neither the relationship, nor the kids, nor even the animals gets handsome enough treatment to redeem Who Says I Can't Ride a Rainbow! from general mediocrity." — New York Times
Posted Jul 22, 2013
83% Ice " The cast is amateur (and wholly anonymous, though you may recognize a few friends and familiar faces), but it is adequate to the moods, frustrations, accommodations and intolerances of the movie." — New York Times
Posted Jul 6, 2010
4/5 100% L'Amour Fou " L'Amour Fou, while possibly not a masterpiece, is a work of such interest, skill and intelligence that it deserves to be something better than a legend -- in what is, after all, still its own time." — New York Times
Posted Nov 12, 2007
2/5 40% Visions of 8 - The Olympics of Motion Picture Achievement (2011) " As for so much of the rest, it seems to forget that it is the privilege of the modest art of film to find the meaning of things just in the way they are seen to be." — New York Times
Posted Oct 23, 2007
88% Deep End (1971) New York Times
Posted Jul 7, 2007
33% Let's Scare Jessica to Death (What Killed Sam Dorker?) (1971) New York Times
Posted Sep 2, 2006
—— Japan's Longest Day (1968) New York Times
Posted Aug 19, 2006
3/5 —— Cremator " Kopfrkingl himself, played by Rudolf Hrusinky, with the face of a gently demonic Charles Laughton and the manner of a malevolent Herbert Marshall, is a creation of considerable interest." — New York Times
Posted Jun 24, 2006
5/5 100% Quatre nuits d'un rêveur (Four Nights of a Dreamer) (1972) " Time and again, it is shockingly beautiful, and I can think of nothing in recent films so ravishing as his strange romantic vision of the city, the river, the softly lighted tourist boats in the night." — New York Times
Posted Apr 8, 2006
—— The Night Evelyn Came Out of the Grave (2003) New York Times
Posted Jan 28, 2006
4/5 100% Mandabi (1969) " Sembène's approach is spare, laconic, slightly ironic and never patronizing." — New York Times
Posted Aug 9, 2005
—— O Dragão da Maldade contra o Santo Guerreiro (Antonio das Mortes) (1969) New York Times
Posted Jun 20, 2005
0/5 60% Ciao Manhattan (Edie in Ciao! Manhattan) (1972) " At bottom Ciao! Manhattan is cruel exploitation -- though the film is dedicated to Miss Sedgwick's memory, an ultimate indignity." — New York Times
Posted May 21, 2005
3.5/5 91% Bad Company (1972) " A naturalistic, irreverent and sometimes broadly comic view of a largely ignored aspect of the Civil War gives Bad Company a refreshingly good name." — New York Times
Posted May 21, 2005
1/5 11% Night of the Lepus (1972) " It is this technical laziness as much as the stupid story or the dumb direction that leaves the film in limbo and places it in neither one camp nor the other - neither with Attack of the 50-Foot Woman nor with Flopsy, Mopsy and Cottontail." — New York Times
Posted May 10, 2005
—— Dr. Jekyll and Sister Hyde (1971) New York Times
Posted May 10, 2005
80% The Abominable Dr. Phibes (1971) New York Times
Posted May 10, 2005
3.5/5 78% Escape from the Planet of the Apes (1971) " One of the better new movies in town, and better in a genre -- science-fiction -- that at the crucial middle level where the history of movies is made, if not written, has recently been not so much bad as invisible." — New York Times
Posted May 10, 2005
—— Slaughter (1972) New York Times
Posted May 10, 2005
64% Support Your Local Gunfighter (1971) New York Times
Posted May 10, 2005
—— Blood from the Mummy's Tomb (1972) New York Times
Posted May 10, 2005
—— A Man Called Sledge (1971) New York Times
Posted May 10, 2005
—— When Dinosaurs Ruled the Earth (1971) New York Times
Posted May 10, 2005
4/5 91% Superfly (1972) " A very good movie." — New York Times
Posted May 9, 2005
4/5 73% The Learning Tree (1969) " The restraint, the composure, the sufficiency of the sentimental gesture constitute a small gift for memory and a real victory in the first stages of this filmmaker's career." — New York Times
Posted May 9, 2005
—— Viva la muerte (1971) New York Times
Posted May 9, 2005
—— Zachariah (2003) New York Times
Posted May 9, 2005
5/5 95% Floating Weeds (Ukigusa) (1959) " Ozu is, however, very special in his technique, which by the end of his career, had become very modest, lucid and lovely." — New York Times
Posted May 9, 2005
—— Como Era Gostoso o Meu Francês (How Tasty Was My Little Frenchman) (1971) New York Times
Posted May 9, 2005
—— The Man Who Haunted Himself (1970) New York Times
Posted May 9, 2005
—— Hannie Caulder (1971) New York Times
Posted May 9, 2005
70% Shaft's Big Score! (2000) New York Times
Posted May 9, 2005
43% Shamus (1973) New York Times
Posted May 9, 2005
3.5/5 56% The Magic Christian (1970) " Funny, uncomfortable and without an ounce of benevolence." — New York Times
Posted May 9, 2005
91% The Hired Hand (1971) New York Times
Posted May 9, 2005
50% Shaft in Africa (1973) New York Times
Posted May 9, 2005
2/5 89% The Molly Maguires (1970) " Realism without much reality, enormous care for the wrong details, historical accuracy and spineless dramaturgy." — New York Times
Posted May 9, 2005
100% Across 110th Street (1972) New York Times
Posted May 9, 2005
50% The Computer Wore Tennis Shoes (2003) New York Times
Posted May 9, 2005
—— Murphy's War (1971) New York Times
Posted May 9, 2005
67% Pulp (1972) New York Times
Posted May 9, 2005
—— The McKenzie Break (Escape) (Wolfpack) (1970) New York Times
Posted May 9, 2005
—— Love Machine New York Times
Posted May 9, 2005
3/5 —— Grasshopper (1970) " A film of ordinary ambitions and of limited but sometimes stunning success." — New York Times
Posted May 9, 2005
—— The Epic That Never Was (1965) New York Times
Posted May 9, 2005
—— Cesar et Rosalie (1972) New York Times
Posted May 9, 2005
—— Girly (2010) New York Times
Posted May 9, 2005
—— Waterloo (1970) New York Times
Posted May 9, 2005
2.5/5 50% Sympathy for the Devil (One Plus One) (1968) " Not only does the use of the song impose a sense of emotional fulfillment upon a conclusion that does not ask for it, but also the use of the song's title for the movie suggests a meaning that is less interesting." — New York Times
Posted May 9, 2005
—— Le Grand Blond avec Une Chaussure Noire (The Tall Blond Man with One Black Shoe) (1973) New York Times
Posted May 9, 2005
Showing 1 - 50 of 149
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