Stefan Kanfer Movie Reviews & Previews - Rotten Tomatoes

Stefan Kanfer

Stefan Kanfer
Stefan Kanfer's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): TIME Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
No Score Yet The Reckoning (1969) [Williamson's] sooty origins have become as nothing to the putrefaction of his workdays. That is the master actor's detailed and tragic interpretation, the only justification needed to see the ‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet A Severed Head (1971) "Ambiguous," appropriately, has definitions. It means "capable of understood in two or more senses." also means "uncertain, especially obscurity or indistinctness." A Severed Head leaps for the category and lands in the second. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Sunflower (I girasoli) (1970) Chetnal fortuna-the pornography of sex cannot be replaced by the opera of soap.‐ TIME Magazine
Read More | Posted Feb 7, 2018
57% Plaza Suite (1971) In Arthur Hiller's rigid transcription of Neil Simon's Broadway one-acters set in Manhattan's Plaza Hotel, Matthau essays not one part but three. Each is unique, all are achingly comic.‐ TIME Magazine
Read More | Posted Feb 7, 2018
86% This Man Must Die (Que la bête meure) (1970) This Man Must Die is as full of intelligence as a seminar and as suspenseful as a series of passes at Monte Carlo.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Waterloo (1970) As for the golden history and legend, they lie buried beneath this delayed replay of a primer on strategy.‐ TIME Magazine
Read More | Posted Feb 7, 2018
70% They Might Be Giants (1971) The pretense cannot mask the film's pusillanimous ideas. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Black Jesus (Seduto alla sua destra) (1968) For years Strode, a former Los Angeles Ram, has hovered on the periphery of films waiting for a movie adequate to his talents. He is still marking time.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet The Virgin and the Gypsy (1970) At 31, Miles knows everything worth knowing about actors, if not about film. His water and fire symbols and andante flashbacks are modish and imprecise, but he makes his cast function with the proficiency and timing of a London rep company. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
62% The Andromeda Strain (1971) Despite its trappings, the plot employs nothing but the conventional weaponry of the grade-B thriller.‐ TIME Magazine
Read More | Posted Feb 7, 2018
87% THX 1138 (1971) Despite his scenes of bland horror, Lucas offers the 25th century as a arch, campy place, a conception not satiric enough to be accepted as comedy and not quite insightful enough to be taken seriously.‐ TIME Magazine
Read More | Posted Feb 7, 2018
29% Let's Scare Jessica to Death (1971) With the exception of Zohra Lampert's subtle and knowledgeable performance, no one in the cast has enough substance even to be considered humanoid.‐ TIME Magazine
Read More | Posted Feb 7, 2018
50% Blind Terror (See No Evil) (1971) If [Farrow] displays a narrow emotional range, that is less the fault of the actress than of the film makers.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Ramparts of Clay (Remparts d'argile) (1971) Its politics have been diverted by the villagers and bleached by the African sun. If this evocative work manages to "sell" anything, it is the idea of Jean-Louis Bertucelli, 28, as a director of fresh and major significance.‐ TIME Magazine
Read More | Posted Feb 7, 2018
14% The Night Visitor (1971) Laslo Benedek's methodical direction and Henning Kristiansen's astonishing photography-a gothic mix of melancholy blue landscapes and pale, crumbling interiors-only serve to underline the film's deficiency, the utter lack of logic.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Genocide (1981) In this film, memory and ambition ultimately collide. The 6 million deserve more than dire prophecy and less than an overproduction.‐ TIME Magazine
Read More | Posted Feb 7, 2018
79% The Anderson Tapes (1971) Unfortunately, failed comedy and vigorous suspense are handcuffed together for the entire trip.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Shinbone Alley (1971) I especially liked two songs flotsam and jetsam and the title number they seemed to catch what you called the golden nonsense of the heart.‐ TIME Magazine
Read More | Posted Feb 7, 2018
72% Death in Venice (1971) Visconti takes the veneer and calls it furniture. With infinite tedium, he pores over every facet of Tadzio's Botticelli visage.‐ TIME Magazine
Read More | Posted Feb 7, 2018
100% The Phantom Tollbooth (1970) The youthful viewer and his parents should overlook Phantom Tollbooth's flaws and concentrate on the film's underlying moral.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Cry Uncle (1971) Director John G. Avildsen directs his actors in the same manner that a red light may be said to direct patrons. No matter. Pornography is customarily, in Nabokov's fine phrase, a copulation of clichés. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Valdez Is Coming (1971) [Valdez] Is Coming offers little besides its star. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
92% The Private Life of Sherlock Holmes (1970) The entire effort may, I think, be ascribed to an insufficiency of imagination.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Darling Lili (1970) Director Blake Edwards (Julie's new husband) seems to believe that if a man failing off a roof is funny, then two men falling should be hilarious. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
90% Walkabout (1971) Aim and Misfire. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Blue Water, White Death (1971) It is more than a cinematic high. It is a justifiable anthropomorphism, a juxtaposition of hunter and hunted that Melville, or for that matter Moby-Dick, would have savored.‐ TIME Magazine
Read More | Posted Feb 7, 2018
No Score Yet Promise at Dawn (1971) Surely Scenarist-Director Jules Dassin jests. Or does he?‐ TIME Magazine
Read More | Posted Feb 7, 2018
58% Love Story (1970) Ryan O'Neal gives the character of the neon scion a warmth and vulnerability entirely missing from the bestseller.‐ TIME Magazine
Read More | Posted Feb 7, 2018
92% Hearts and Minds (1975) Hearts and Minds displays more than enough heart. ‐ TIME Magazine
Read More | Posted Feb 7, 2018
50% Cold Turkey (1971) An extended sitcom loaded with the kind of jokes that induce canned laughter.‐ TIME Magazine
Read More | Posted Mar 23, 2015
100% I Clowns (The Clowns) (2001) [Fellin] turns the world into his circus and, in a liberated, quasi-documentary style, resurrects some of history's great pagliacci with their cornucopia of practical jokes, smashed hats, pulled chairs, popping balloons and squirting flowers.‐ TIME Magazine
Read More | Posted Mar 11, 2015
43% The Last Movie (1971) That sound you hear is of checkbooks closing all over Hollywood.‐ TIME Magazine
Read More | Posted Aug 26, 2014
20% Little Fauss and Big Halsy (1970) There are some men whose tragedy arises not from what they suffer but what they fail to feel. Little Fauss and Big Halsy are such men -- and so are those who made the movie.‐ TIME Magazine
Read More | Posted Jul 22, 2013
67% The Aristocats (1970) The animals' exuberance is so infectious and their "acting" so true to human life that by the fadeout The Aristocats does, indeed, give the audience paws for reflection.‐ TIME Magazine
Read More | Posted Nov 4, 2009
100% The Last Picture Show (1971) Director Peter Bogdanovich has seen Anarene, Texas, in the cinematic terms of 1951 -- the langorous dissolves, the strong chiaroscuro, the dialogue that starts with bickering and ends at confessional.‐ TIME Magazine
Read More | Posted Apr 27, 2009