Movie Reviews Only

T-Meter Title | Year
51% Charlie Says (2019) In her powerful and deeply affecting "Charlie Says," Mary Harron revisits the Manson cult in a dramatization largely told from the perspective of his female followers. - New York Times EDIT
Read More | Posted May 9, 2019
68% Wine Country (2019) The scripted lines rarely zing, sing or sting (some seem improvised), but when the performers fall down or screw up their faces, you get to watch them fill in their characters with something like real feeling... - New York Times EDIT
Read More | Posted May 7, 2019
81% Long Shot (2019) "Long Shot" isn't going to save the romantic comedy, but it's an adrenaline shot of pure pleasure to the genre's failing heart. - New York Times EDIT
Read More | Posted May 2, 2019
100% Knock Down the House (2019) Ocasio-Cortez quickly, and unsurprisingly, emerges as the focus. She's a ready-made camera presence: sharp, young, emphatic and a tremendous, blazingly confident public speaker. - New York Times EDIT
Read More | Posted Apr 30, 2019
57% J.T. LeRoy (2019) Anchored by its two excellent leads, the movie is sympathetic and, for the most part, unsentimental. - New York Times EDIT
Read More | Posted Apr 25, 2019
66% The White Crow (2019) If you didn't know why he was considered a transcendent dancer or a transformational figure, you still won't know after the final credits roll. - New York Times EDIT
Read More | Posted Apr 25, 2019
30% The Curse of La Llorona (2019) The scares are plentiful and sometimes ticklishly funny in "The Curse of La Llorona," an enjoyably old-fashioned ghost story. - New York Times EDIT
Read More | Posted Apr 18, 2019
75% Bad Times at the El Royale (2018) At some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth's admittedly mesmerizing snaky hips. - New York Times EDIT
Read More | Posted Apr 18, 2019
96% Little Woods (2019) Tessa Thompson emotionally expands "Little Woods," turning a small movie into something more than its textured parts. - New York Times EDIT
Read More | Posted Apr 18, 2019
81% Dogman (2019) Garrone is a virtuoso of pain and terror, which can be overwhelming, despite the flourishes of comedy. - New York Times EDIT
Read More | Posted Apr 11, 2019
72% Stockholm (2019) Drowsy in feel and muted in color, "Stockholm" is lightly amusing and watchable - mostly thanks to Hawke - but never makes the case that this is a story that needed to be told, with or without laughs. - New York Times EDIT
Read More | Posted Apr 10, 2019
83% High Life (2019) Too often the ideas here, visual and otherwise, feel haphazard - outer and inner space, Pattinson's head, sexual taboo, apocalypse now or maybe then - more like material for a vision board than a fully realized vision. - New York Times EDIT
Read More | Posted Apr 4, 2019
90% Shazam! (2019) Once Billy says that magic word and his supersized alter ego appears, the movie goes to its happy place and comfortably embraces its own identity as a light, jocular, modest entertainment. - New York Times EDIT
Read More | Posted Apr 3, 2019
87% A Vigilante (2019) Vigilantism is a questionable fantasy of empowerment, but Daggar-Nickson makes her movie (largely) work by keeping everything - her antihero, the registers of violence - austere and persuasively low key. - New York Times EDIT
Read More | Posted Mar 28, 2019
47% Dumbo (2019) Burton has merrily turned what could have been another remake into something genuinely different and surprising. - New York Times EDIT
Read More | Posted Mar 28, 2019
94% Us (2019) In "Us," Peele uses the metaphor of the divided self to explore what lies beneath contemporary America, its double consciousness, its identity, sins and terrors. - New York Times EDIT
Read More | Posted Mar 20, 2019
73% Dragged Across Concrete (2019) The movie is generally watchable, even at its slowest and ugliest, simply because the actors are solid even when their characters are repellent. - New York Times EDIT
Read More | Posted Mar 20, 2019
94% The Mustang (2019) It shouldn't work - none of it - not the metaphor, not the wild horse, not what it all means for the wild man at the center. It does. - New York Times EDIT
Read More | Posted Mar 14, 2019
91% Gloria Bell (2019) As a performer, Moore can go big, and a terrible yowl here pierces the heart. But she's a virtuoso of restraint. - New York Times EDIT
Read More | Posted Mar 7, 2019
98% 3 Faces (2019) The story is streamlined, simple and elegant, but the plot is thickly layered. - New York Times EDIT
Read More | Posted Mar 7, 2019
71% Triple Frontier (2019) Working from a script that he rewrote, Chandor struggles to make the story's contradictions gel. They never do. - New York Times EDIT
Read More | Posted Mar 6, 2019
76% Into The Forest (2016) The movie lacks urgency. The world may be burning; here, it barely simmers. - New York Times EDIT
Read More | Posted Mar 4, 2019
96% Transit (2019) By turns intimate and expansive, "Transit" is a thrilling, at times harrowing labyrinth of a movie. - New York Times EDIT
Read More | Posted Feb 28, 2019
94% Styx (2019) A taut moral thriller, "Styx" is a story of what happens when self-reliance runs into other people's desperation. - New York Times EDIT
Read More | Posted Feb 26, 2019
92% Fighting with My Family (2019) It's often broadly funny but never mean or patronizing; it takes the Knights, their eccentricities and quixotic aspirations seriously, but not enough to squelch the fun. - New York Times EDIT
Read More | Posted Feb 13, 2019
60% Alita: Battle Angel (2019) A pileup of clichés in service to technological whiz-bangery, "Alita" is one more story of the not quite human brought to life with hubris and bleeding-edge science. - New York Times EDIT
Read More | Posted Feb 12, 2019
72% Lords of Chaos (2019) Akerlund, a veteran music-video director who intersperses "Lords of Chaos" with mildly surrealistic bursts, never establishes a coherent or interesting point of view. - New York Times EDIT
Read More | Posted Feb 6, 2019
85% The LEGO Movie 2: The Second Part (2019) What distinguishes this from the better Lego movies is that they're good commercials. - New York Times EDIT
Read More | Posted Feb 6, 2019
88% Give Me Liberty (2019) Completely, delightfully unpredictable from scene to scene, "Give Me Liberty" draws you in with its moving performances and blasts of broad comedy. - New York Times EDIT
Read More | Posted Feb 1, 2019
89% The Last Black Man in San Francisco (2019) [A] story that doesn't announce its themes but instead transforms lived-in ideas about friendship, loneliness, artmaking, gentrification and the many faces of black masculinity. - New York Times EDIT
Read More | Posted Feb 1, 2019
100% Clemency (2019) With visual austerity and not an ounce of sentimentality, Chukwu transforms a character study into an indictment of institutionalized murder. - New York Times EDIT
Read More | Posted Feb 1, 2019
76% Late Night (2019) The director Nisha Ganatra doesn't do much visually but she adroitly works around Kaling's stand-and-deliver acting and gives Thompson the room she needs to turn a cliché into a striking character. - New York Times EDIT
Read More | Posted Feb 1, 2019
No Score Yet Never Fear (The Young Lovers) (1949) "Never Fear" has an attractive no-frills look that fits the story and its modesty, and is in keeping with Lupino's embrace of documentary realism. - New York Times EDIT
Read More | Posted Jan 24, 2019
38% Glass (2019) Shyamalan's talent for primitive scares remains intact in "Glass," as does his love for cramming a whole lot of story in one feature. - New York Times EDIT
Read More | Posted Jan 17, 2019
20% The Aspern Papers (2019) Richardson is strong enough to survive inept direction, but the rest of the performances range from bad to wincingly bad, including the distractingly modern types on the edges. - New York Times EDIT
Read More | Posted Jan 9, 2019
73% Destroyer (2018) Kusama is still figuring out how to balance form and pulp, but she has a singular unapologetic idea about what women can and cannot do onscreen, one she lets rip with verve and her superbly unbound star. - New York Times EDIT
Read More | Posted Dec 24, 2018
92% Cold War (Zimna wojna) (2018) Its greatest strengths, though, are its two knockout leads, who give the story its heat, its flesh and its heartbreak. - New York Times EDIT
Read More | Posted Dec 20, 2018
79% Mary Poppins Returns (2018) What's odd here is how closely the new movie follows the original's arc without ever capturing its bliss or tapping into its touching delicacy of feeling. - New York Times EDIT
Read More | Posted Dec 18, 2018
69% The Mule (2018) Because the movie never builds to something greater than its parts, Eastwood ends up blowing raspberries and floundering for meaning in a void. - New York Times EDIT
Read More | Posted Dec 13, 2018
95% If Beale Street Could Talk (2019) When two lovers look at each other in this movie, the tenderness in their eyes softens everything, creating a radiance that folds around them like a blanket, blunting the world. You feel the warmth, the softness, too. - New York Times EDIT
Read More | Posted Dec 12, 2018
61% Vox Lux (2018) "Vox Lux" is an audacious story about a survivor who becomes a star, and a deeply satisfying, narratively ambitious jolt of a movie. - New York Times EDIT
Read More | Posted Dec 6, 2018
85% Dumplin' (2018) Kristin Hahn's script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. - New York Times EDIT
Read More | Posted Dec 5, 2018
78% Anna and the Apocalypse (2018) Like some features that originated as short movies, "Anna and the Apocalypse" never earns its longer running time. - New York Times EDIT
Read More | Posted Nov 29, 2018
99% Shoplifters (Manbiki kazoku) (2018) Kore-eda has the sensitive, calibrated touch of a master safecracker, and he's a virtuoso of emotional and narrative buildup. - New York Times EDIT
Read More | Posted Nov 23, 2018
96% Roma (2018) It's an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece. - New York Times EDIT
Read More | Posted Nov 20, 2018
80% At Eternity's Gate (2018) This man, much like the real one, is acutely aware of his fragilities. Yet by adamantly focusing above all else on van Gogh's work - and its transporting ecstasies - Schnabel has made not just an exquisite film but an argument for art. - New York Times EDIT
Read More | Posted Nov 15, 2018
88% Naked (1993) An anti-epic -- retrofitted to the consciousness of an antihero raging into the close of a century, the end of the millennium. - Artforum EDIT
Read More | Posted Nov 13, 2018
37% Fantastic Beasts: The Crimes of Grindelwald (2018) Rowling has surrendered to her maximalist tendencies and so cluttered up the story that you spend far too much time trying to untangle who did what to whom and why. - New York Times EDIT
Read More | Posted Nov 8, 2018
62% Outlaw King (2018) Why do moviemakers insist on telling historical stories when they're really just interested in costumes and war? - New York Times EDIT
Read More | Posted Nov 8, 2018
40% The Girl in the Spider's Web (2018) Even the tattoo is worse. - New York Times EDIT
Read More | Posted Nov 7, 2018