A.H. Weiler Movie Reviews & Previews - Rotten Tomatoes

A.H. Weiler

A.H. Weiler
A.H. Weiler's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times

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Showing 1 - 50 of 88
Rating T-Meter Title | Year Review
No Score Yet

Valley of the Kings (1954)

"The modern romantic adventure displayed here is hardly as impressive as the monuments of the ancient civilization against which it is played." ‐New York Times
Posted Apr 5, 2016
No Score Yet

Too Late for Tears (1949)

"Despite an involved plot and an occasional overabundance of palaver, not all of which is bright, this yarn about a cash-hungry dame who doesn't let men or conscience stand in her way, is an adult and generally suspenseful adventure." ‐New York Times
Posted Oct 30, 2015
100%

Wild River (1960)

"Both sections of the flavorful, vernacular-filled screen play have been given professional treatment." ‐New York Times
Posted Feb 19, 2015
91%

Cluny Brown (1946)

"Let is be noted at the outset that Ernst Lubitsch has come up with a delectable and sprightly lampoon in Cluny Brown." ‐New York Times
Posted Jun 5, 2014
60%

Hickey & Boggs (2000)

""Hickey and Boggs" is not involved in a story or with characters really worthy of a full theatrical treatment." ‐New York Times
Posted May 21, 2014
90%

Requiem for a Heavyweight (1962)

"A serious incisive drama that pulls no punches in its low-keyed exposure of its pitiable has been hero and the sleazy, harried sidekicks who share his sweat-stained and blood-stained world." ‐New York Times
Posted Dec 18, 2013
2.5/5 40%

Kvinnodröm (Dreams) (Journey Into Autumn) (1955)

"It is not a major concept he is dramatizing, and it lacks the hallmarks of imagination, expressive symbolism and poetic nuances of some of the truly memorable films that followed Dreams." ‐New York Times
Posted Jul 23, 2013
2/5 17%

För Att Inte Tala Om Alla Dessa Kvinnor (All These Women) (Now About These Women) (1964)

"Ingmar Bergman, who has tackled religion, sin, sex, music and muddled mores in elliptical but artistically distinguished film style, appears to be confused by comedy and color." ‐New York Times
Posted Jul 22, 2013
3/5 No Score Yet

The Light Touch (1951)

"The Light Touch, in short, may not be art but it is entertaining." ‐New York Times
Posted Apr 8, 2008
4/5 67%

Toute Une Vie (And Now My Love) (1974)

"Mr. Lelouch, of course, gives amour its due in And Now My Love, but this is not nearly so impressive as his perceptive, often touching portraits of three eras and their principals." ‐New York Times
Posted Jan 15, 2008
3/5 94%

Black Girl (La noire de...) (1966)

"Mr. Sembène makes his point neatly and dramatically." ‐New York Times
Posted Oct 22, 2007
4/5 100%

Black God, White Devil (Deus e o Diabo na Terra do Sol) (1964)

"Simple, black-and-white, more arresting as a shocking polemic than as memorable drama." ‐New York Times
Posted Apr 11, 2007
3.5/5 90%

Cry of the City (1948)

"Cry of the City may be strident at times but its message, story and players are thoroughly effective." ‐New York Times
Posted Feb 10, 2007
2.5/5 81%

It Came from Outer Space (1953)

"Merely mildly diverting, not stupendous." ‐New York Times
Posted Oct 31, 2006
2/5 No Score Yet

A Girl in Every Port (1952)

"An involved mélange of obvious antics and gags, only one or two of which are likely to generate chuckles." ‐New York Times
Posted Oct 31, 2006
4.5/5 100%

Them! (1954)

"Definitely a chiller." ‐New York Times
Posted Oct 31, 2006
4/5 93%

The Adventures of Ichabod and Mr. Toad (1949)

"Mr. Disney, abetted by his staff, such perfect narrators as Bing Crosby and Basil Rathbone, and a pair of durable literary works, has fashioned a conclave of cartoon creatures, which... have the winsome qualities and charm of Mickey Mouse, Dumbo, et al." ‐New York Times
Posted Oct 31, 2006
2/5 84%

Creature from the Black Lagoon (1954)

"This adventure has no depth." ‐New York Times
Posted Oct 31, 2006
3.5/5 85%

The War of the Worlds (1953)

"Mind those heat rays!" ‐New York Times
Posted Oct 31, 2006
2/5 13%

The Silver Chalice (1954)

"Though it is lavish and sweeping in execution, The Silver Chalice, for all of its august and religious aspects, is not an imposing offering." ‐New York Times
Posted Oct 31, 2006
100%

Riot in Cell Block 11 (1954)

"The grim business of melodrama behind prison walls, so often depicted in standard, banal fashion in films, is given both tension and dignity in Riot in Cell Block 11." ‐New York Times
Posted Oct 31, 2006
94%

The Beast From 20,000 Fathoms (1953)

"Despite more than a suspicion of palaver, it generates a fair portion of interest and climactic excitement ..." ‐New York Times
Posted Oct 31, 2006
4/5 100%

Road House (1948)

"List first the fact that Widmark, though he stands in danger of being typed as the screen's prime psychotic, does an excellent job (complete with chilling laughter)." ‐New York Times
Posted Aug 8, 2006
2/5 60%

Son of Dracula (1943)

"Despite all the accepted props, from the lonely Southern plantation set in a miasmic bog to the squeaking bats and creaking coffins, this thriller is a pretty pallid offering." ‐New York Times
Posted Aug 8, 2006
91%

Horror of Dracula (1958)

"Perhaps the constant hunt for hemoglobin is slowing our villain down, for this time there are strong indications that the once gory plot is showing definite signs of anemia." ‐New York Times
Posted Mar 25, 2006
2.5/5 91%

The Wrong Man (1956)

"Frighteningly authentic, the story generates only a modicum of drama." ‐New York Times
Posted Mar 25, 2006
100%

Indiscreet (1958)

"A thin but impishly gay and enchanting film." ‐New York Times
Posted Mar 25, 2006
2/5 67%

The Young Philadelphians (1959)

"The trials and tribulations of the rich, like those of the poor, can be undramatic." ‐New York Times
Posted Mar 25, 2006
73%

Clash by Night (1952)

"It lacks conviction and distinction despite its hard-working principals." ‐New York Times
Posted Mar 25, 2006
3.5/5 100%

Darby O'Gill and the Little People (1959)

"[An] overpoweringly charming concoction of standard Gaelic tall stories, fantasy and romance." ‐New York Times
Posted Mar 25, 2006
2/5 30%

Saint Joan (1957)

"Mr. Preminger, his scenarist and his cast, who obviously were serious in tackling an important drama, have only fashioned a series of dissertations on an important theme." ‐New York Times
Posted Mar 25, 2006
2/5 80%

Party Girl (1958)

"There is little that is novel or exciting about this Party Girl, despite her trappings or the occasional gunplay that surrounds her." ‐New York Times
Posted Mar 25, 2006
3/5 100%

Rio Bravo (1959)

"Despite its slickness, virility, occasional humor and, if it may be repeated, authentic professional approach, it is well-made but awfully familiar fare." ‐New York Times
Posted Mar 25, 2006
60%

Phase IV (1974)

"A concept and a script that is initially spellbinding but then quickly turns into mystifying vacillations between fact and largely unconvincing fiction." ‐New York Times
Posted Jun 11, 2005
2.5/5 88%

Signs of Life (1968)

"As a writer-director in his feature film effort, Mr. Herzog has failed to make his harried hero's case or his parable believable. Otherwise, his Signs of Life provides vivid signs of considerable talent and promise." ‐New York Times
Posted May 10, 2005
3/5 No Score Yet

The Slender Thread (1965)

"The performances of the principals and the film's naturalistic dialogue are more memorable than the story itself." ‐New York Times
Posted May 10, 2005
87%

Mouchette (1967)

"In artistically pointing up their lack of understanding and affection for Mouchette, Mr. Bresson never fully lets a viewer in on details that would help him appreciate them, too." ‐New York Times
Posted May 10, 2005
3/5 100%

Simón del desierto (Simon of the Desert) (1965)

"Mr. Bunuel's powerful, funny, startling but inconclusive commentary on man's frailties." ‐New York Times
Posted May 10, 2005
85%

Senso (1954)

"It is an obvious, rudimentary operatic approach to amour and an illustration of history that is likely to be fuzzy to anyone but a student of Garibaldi's 1866 campaign in and around Venice and Verona." ‐New York Times
Posted May 10, 2005
2/5 92%

The Immortal Story (1968)

"Its sad and bittersweet effects are slowly achieved in brooding, garrulous, overly introspective style, except by Jeanne Moreau." ‐New York Times
Posted May 10, 2005
2.5/5 83%

Onibaba (1965)

"Although his artistic integrity remains untarnished, his driven rustic principals are exotic, sometimes grotesque figures out of medieval Japan, to whom a Westerner finds it hard to relate." ‐New York Times
Posted May 10, 2005
4/5 90%

Le Feu follet (A Time to Live and a Time to Die) (The Fire Within) (1963)

"Highly introspective, often tenderly touching and sometimes tediously redundant." ‐New York Times
Posted May 9, 2005
2/5 60%

Sex and the Single Girl (1964)

"Spain never looked lovelier, but the banal romances of the lightweight principals in this retooled vehicle make the trip wholly unnecessary." ‐New York Times
Posted May 9, 2005
95%

A Touch of Zen (1969)

"[King Hu] has not ignored traditional mayhem here, but he has demonstrated that pictorial artistry, Zen mysticism and the stylized martial arts, can make a fascinating mix." ‐New York Times
Posted May 9, 2005
1.5/5 14%

Hellfighters (1968)

"Our indestructible Duke again has made actionful, if not stirringly meaningful, child's play of exotic disasters." ‐New York Times
Posted May 9, 2005
3/5 67%

Hatari! (1962)

"Perhaps the accent on the trapping of free-roaming critters for use in zoos is a mite too heavy, but this aspect of African business rates the attention it receives here." ‐New York Times
Posted May 9, 2005
3.5/5 100%

Variety Lights (1965)

"The cognoscenti will recognize touches that have turned up in eight Fellini features that followed this one." ‐New York Times
Posted May 9, 2005
82%

On Her Majesty's Secret Service (1969)

"What are Bond's problems now? They're too numerous, as usual, to hold the constant attention of anyone other than a charter member of Her Majesty's Secret Service." ‐New York Times
Posted May 9, 2005
2/5 40%

Thriller - A Cruel Picture (Thriller - en grym film) (Hooker's Revenge) (They Call Her One Eye) (1974)

"Miss Lindberg, who is easy to look at, is constantly doleful since most of what occurs in One Eye is dreary." ‐New York Times
Posted May 9, 2005
2/5 83%

Six in Paris (Paris vu par...) (1969)

"If the six different locales are a standard Cook's Tour of the capital, most of the principals, however fleetingly, make Parisians, not Paris, diverting, if not memorable." ‐New York Times
Posted May 9, 2005
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Showing 1 - 50 of 88