Movie Reviews Only

T-Meter Title | Year
93% 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
96% 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
97% 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
73% Triple Frontier (2019) [Chandor] maintains the kind of accelerated pace that gives your eyes a workout, and pads the story with an inviting camaraderie that brings you into the group. - New York Times EDIT
Read More | Posted Mar 6, 2019
75% 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
95% 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
70% 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
86% 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
88% 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
37% 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
13% 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
70% 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
59% 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
79% 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
82% The Other Side of the Wind (2018) What we have is something of a seductive tease, a haunted film that at times entrances and delights and at times offends and embarrasses. - New York Times EDIT
Read More | Posted Nov 1, 2018
92% They'll Love Me When I'm Dead (2018) Instead of exploring or deconstructing [Welles'] genius, Neville seems interested in putting it into tidy boxes. - New York Times EDIT
Read More | Posted Nov 1, 2018
94% Burning (Beoning) (2018) All three leads are sensational (Yeun turns yawns and soft laughter into nightmares), giving performances that retain a sense of mystery that dovetails with the movie's ambiguity. - New York Times EDIT
Read More | Posted Oct 25, 2018
66% Suspiria (2018) As the first hour of "Suspiria" grinds into the second and beyond (the movie runs 152 minutes), it grows ever more distended and yet more hollow. - New York Times EDIT
Read More | Posted Oct 24, 2018
80% 22 July (2018) Fiction that hews close to fact, the movie is serious and meticulous, yet hollow. - New York Times EDIT
Read More | Posted Oct 11, 2018
89% A Star Is Born (2018) Like its finest antecedents, it wrings tears from its romance and thrills from a steadfast belief in old-fashioned, big-feeling cinema. That it's also a perverse fantasy about men, women, love and sacrifice makes it all the better. - New York Times EDIT
Read More | Posted Oct 3, 2018
87% All About Nina (2018) Ms. Winstead is so good that she even shows you the movie that could have been, one without the clichés and therapy talk. - New York Times EDIT
Read More | Posted Sep 27, 2018
71% Hold the Dark (2018) A thriller that aspires to something deeper but never figures out what. - New York Times EDIT
Read More | Posted Sep 26, 2018
88% Colette (2018) Takes a light, enjoyably fizzy approach to its subject. - New York Times EDIT
Read More | Posted Sep 20, 2018
86% The Sisters Brothers (2018) A great deal of the movie's enjoyment comes from its four principals, who work well when paired off but are particularly appealing in a group. - New York Times EDIT
Read More | Posted Sep 20, 2018
86% A Simple Favor (2018) Sly and sweet with an acid finish, "A Simple Favor" is a female-friendship comedy with neo-noir ambitions. - New York Times EDIT
Read More | Posted Sep 13, 2018
58% White Boy Rick (2018) Mr. Demange can convey mood and feeling with his filmmaking, but he can't turn Rick Jr. into a viable character and neither can the inexpert Mr. Merritt. - New York Times EDIT
Read More | Posted Sep 11, 2018
91% Hal (2018) It's a consistently engaging trip. - New York Times EDIT
Read More | Posted Sep 6, 2018
75% Let the Corpses Tan (Laissez bronzer les cadavres!) (2018) These directors are so in love with their own image-making that there's no room for the viewer. - New York Times EDIT
Read More | Posted Aug 30, 2018
93% Support the Girls (2018) As the details gather, thickening the story, what seemed like drift is revealed as textured realism. Mr. Bujalski's touch is so light that it can be easy to miss what he's doing. - New York Times EDIT
Read More | Posted Aug 23, 2018
52% Papillon (2018) Working from a script by Aaron Guzikowski, the director Michael Noer generally puts the camera where it should go and adds a sterile Parisian interlude but nothing much else of note. - New York Times EDIT
Read More | Posted Aug 23, 2018
97% Mission: Impossible - Fallout (2018) The movie is propelled by action scenes that transmit a little something about the characters while nudging the story forward, much like the song-and-dance numbers in a musical. - New York Times EDIT
Read More | Posted Jul 25, 2018