Roger Greenspun Movie Reviews & Previews - Rotten Tomatoes

Roger Greenspun

Roger Greenspun
Roger Greenspun's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine, New York Times

Movie Reviews Only

|
Showing 1 - 50 of 51
Rating T-Meter Title | Year Review
2.5/5 No Score Yet

Who Says I Can't Ride a Rainbow! (Barney) (1971)

"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
75%

Ice (1970)

"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 (1969)

"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 (1973)

"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
3/5 No Score Yet

Cremator (1968)

"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 89%

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
4/5 100%

Mandabi (1969)

"Sembène's approach is spare, laconic, slightly ironic and never patronizing." ‐New York Times
Posted Aug 9, 2005
0/5 60%

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 10%

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
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
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
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
3.5/5 56%

The Magic Christian (1970)

"Funny, uncomfortable and without an ounce of benevolence." ‐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
80%

Across 110th Street (1972)

"It manages at once to be unfair to blacks, vicious towards whites and insulting to anyone who feels that race relations might consist of something better than improvised genocide." ‐New York Times
Posted May 9, 2005
3/5 No Score Yet

The Grasshopper (1970)

"A film of ordinary ambitions and of limited but sometimes stunning success." ‐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
4.5/5 77%

Diary of a Mad Housewife (1970)

"Among the performers, Carrie Snodgress will surely receive the critical praise she deeply deserves." ‐New York Times
Posted May 9, 2005
5/5 100%

Une Femme Douce (A Gentle Woman) (1969)

"The usual language of critical praise seems beside the point in discussing Bresson, but please understand that I mean this to be a rave review." ‐New York Times
Posted May 9, 2005
2.5/5 48%

Blacula (1972)

"Anybody who goes to a vampire movie expecting sense is in serious trouble, and Blacula offers less sense than most." ‐New York Times
Posted May 9, 2005
94%

Wanda (1971)

"Wanda is a small movie, fully aware of its limits, and within those limits lovely." ‐New York Times
Posted May 9, 2005
2.5/5 73%

Too Late the Hero (1970)

"Although committed to the notion that war is an inclusive system of betrayals, the film subverts that notion and settles instead for some fashionable ironies and remarkably conventional jungle warfare displays." ‐New York Times
Posted May 9, 2005
4/5 100%

Innocence Unprotected (1968)

"I value Makavejev's extraordinary insights into ordinary affairs and his gentle juggling act with Acrobat Aleksic." ‐New York Times
Posted May 9, 2005
1.5/5 75%

Vanishing Point (1971)

"A movie about which I can think of almost nothing good to say." ‐New York Times
Posted May 9, 2005
100%

Au Hasard Balthazar (1966)

"This is neither an easy film, nor, in the show biz sense, an entertaining one. It makes large demands upon its audience, and in return confers exceptional rewards." ‐New York Times
Posted May 9, 2005
2/5 67%

The Andromeda Strain (1971)

"Nothing very exciting goes on." ‐New York Times
Posted May 9, 2005
2.5/5 78%

The House That Dripped Blood (1971)

"The latter two stories, though necessarily too short and too schematic, generate some interest, and humor, and even a bit of characterization." ‐New York Times
Posted May 9, 2005
2.5/5 88%

Sounder (1972)

"If Sounder, an inteligent enough movie, avoids all the major pitfalls of its type, it also lacks the excitement that may have come from plumbing greater depths and discovering a few tougher, less accessible insights." ‐New York Times
Posted May 9, 2005
4/5 88%

THX 1138 (1971)

"I have a good many reservations about the film's ideas, but they are greatly outweighed by my admiration for a technical virtuosity that by fair means and foul achieves exceptional emotional intensity at the same time." ‐New York Times
Posted May 9, 2005
4/5 77%

El Topo (1970)

"El Topo is a good deal more interesting and a good deal less hung up on its own pretensions than all my most intelligent friends had led me to believe." ‐New York Times
Posted May 9, 2005
5/5 95%

The Honeymoon Killers (1970)

"It is one of the best and, curiously, most beautiful American movies in recent years." ‐New York Times
Posted May 9, 2005
3.5/5 93%

Jeremiah Johnson (1972)

"There are momoments of great beauty and terror and deeply earned pathos. There are as well such not-so-incidental pleasures as John Rubinstein's lovely and serviceable musical score, and a cast of excellent supporting actors." ‐New York Times
Posted May 9, 2005
66%

Live and Let Die (1973)

"Live and Let Die has been especially well photographed and edited, and it makes clever and extensive use of its good title song, by Paul and Linda McCartney." ‐New York Times
Posted May 9, 2005
2/5 70%

Johnny Got His Gun (1971)

"Although Mr. Trumbo is primarily a screenwriter, screenwriting is only the worst of the film's several failures." ‐New York Times
Posted May 9, 2005
2/5 No Score Yet

Entranced Earth (Terra em Transe) (1967)

"I have now seen enough of Rocha's work to know that I dislike it for its own sake, and not for the unfamiliarity of its locale and people or for the ritual obsessiveness of its themes." ‐New York Times
Posted Jan 15, 2005
95%

American Graffiti (1973)

"It is a very good movie, funny, tough, unsentimental." ‐New York Times
Posted May 21, 2003
3/5 95%

Dirty Harry (1971)

"What makes Dirty Harry worth watching no matter how dumb the story, is Siegel's superb sense of the city, not as a place of moods but as a theater for action." ‐New York Times
Posted May 21, 2003
98%

The French Connection (1971)

"It moves at magnificent speed, and exhausts itself in movement." ‐New York Times
Posted May 21, 2003
97%

Klute (1971)

"Pakula, when he is not indulging in subjective camera, strives to give his film the look of structural geometry, but despite the sharp edges and dramatic spaces and cinema presence out of Citizen Kane, it all suggests a tepid, rather tasteless mush." ‐New York Times
Posted May 21, 2003
88%

Bang The Drum Slowly (1973)

"It is one of those rare instances in which close adaptation of a good book has resulted in possibly an even better movie." ‐New York Times
Posted May 21, 2003
87%

M*A*S*H (1970)

"Although it is impudent, bold, and often very funny, it lacks the sense of order (even in the midst of disorder) that seems the special province of successful comedy." ‐New York Times
Posted May 21, 2003
2/5 71%

The King of Marvin Gardens (1972)

"Rafelson's kind of poetic realism, an accuracy in the treatment of unexpected settings, looked like quality to some in Five Easy Pieces two years back. Now it looks like the most pretentious of tired clichés." ‐New York Times
Posted May 21, 2003
5/5 100%

Tokyo Story (Tôkyô monogatari) (1953)

"Luminous in its freedom from the sentimentality or the satire that so often obscure an artist's vision of normal living." ‐New York Times
Posted May 21, 2003
2/5 83%

Play Misty for Me (1971)

"I think the fault lies with Clint Eastwood the director, who has made too many easy decisions about events, about the management of atmosphere, about the treatment of performances." ‐New York Times
Posted May 21, 2003
4.5/5 93%

The Ballad of Cable Hogue (1970)

"Peckinpah's gentlest, boldest, and perhaps most likable film to date." ‐New York Times
Posted May 21, 2003
3.5/5 97%

Cabaret (1972)

"Everybody in Cabaret is very fine, and meticulously chosen for type, down to the last weary transvestite and to the least of the bland, blond open-faced Nazis in the background." ‐New York Times
Posted May 21, 2003
5/5 91%

Tell Them Willie Boy Is Here (1969)

"Tell Them Willie Boy Is Here is another one of the best American movies, and in its own way, equally idiomatic, evocative, and resourceful [as Force of Evil]." ‐New York Times
Posted May 21, 2003
4.5/5 89%

Heavy Traffic (1973)

"A cruel, funny, heartbreaking love note to a city kept alive by its freaks, and always, always dying." ‐New York Times
Posted May 21, 2003
|
Showing 1 - 50 of 51