Vincent CanbyMovie Reviews & Previews - Rotten Tomatoes

Vincent Canby

Vincent Canby
Vincent Canby's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times

Movie Reviews Only

Rating T-Meter Title | Year Review
80% My Little Loves (Mes Petites Amoureuses) (1974) It's less like a piece of finished fiction than a series of terse, precisely worded entries in a notebook. This is both the style of the film and its charm. ‐ New York Times
Posted Jul 8, 2016
No Score Yet The Inland Sea (1992) The real Japan remains elusive but, in the course of this fascinating and deceptively serene journey, Mr. Richie discovers reflections of himself in the people he meets and in his own reactions to them. ‐ New York Times
Posted Jan 8, 2016
74% For Your Eyes Only (1981) Most of the time, though, For Your Eyes Only is a slick entertainment. ‐ New York Times
Posted Oct 30, 2015
83% Chinese Roulette (1976) Taking one step at a time, Mr. Fassbinder is exploring new methods of cinema narrative that are more original and daring than anything I've yet to see by film makers who call themselves avant-garde. ‐ New York Times
Posted Jul 6, 2015
0% Inchon (1981) Inchon is a hysterical historical epic, somewhat less offensive than The Green Berets and far funnier. ‐ New York Times
Posted Jun 24, 2015
No Score Yet From Hollywood to Hanoi (1995) An intense, personal, supremely self-confident feature-length documentary. ‐ New York Times
Posted May 4, 2015
75% Oh! What A Lovely War (1969) [Attenborough] has chosen to make a big, elaborate, sometimes realistic film whose elephantine physical proportions and often brilliant all-star cast simply overwhelm the material with a surfeit of good intentions. ‐ New York Times
Posted Aug 25, 2014
No Score Yet Wend Kuuni (1983) A gentle fable set in a precolonial Africa. ‐ New York Times
Posted Aug 12, 2014
31% The Rookie (1990) It's all meant in good fun, but it isn't. It's tired. ‐ New York Times
Posted May 27, 2014
No Score Yet Trouble Man (1972) Trouble Man is a horrible movie, but it's worth thinking about. ‐ New York Times
Posted May 23, 2014
81% Oliver! (1968) The focus of the movie is so wide, and the logistics of the production so heavy, that Oliver himself, dutifully played by 9-year-old Mark Lester, gets flattened out and almost lost, as if he had been run over by a studio bulldozer. ‐ New York Times
Posted Feb 24, 2014
57% The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972) The talents of everyone connected with it are unmistakable, including those of Mr. Newman... It's just that the basic material calls for a kind of second-rate bravura performance from everyone, from the production designer to the actors. ‐ New York Times
Posted Jan 14, 2014
97% Jaws (1975) Mr. Spielberg has so effectively spaced out the shocks that by the time we reach the spectacular final confrontation between the three men and the great white shark, we totally accept the makebelieve on its own foolishly entertaining terms. ‐ New York Times
Posted Jul 29, 2013
2.5/5 57% The Scenic Route (1978) Flavorless bubble gum. ‐ New York Times
Posted Jul 26, 2013
4/5 100% Törst (Thirst) (Three Strange Loves) (1949) It's full of intimations of films to come, especially those about marriage after the initial excitement of sexual love has given way to boredom, followed by fear that this is all there is. ‐ New York Times
Posted Jul 23, 2013
2/5 20% Little Fauss and Big Halsy (1970) In this context it is difficult to understand character or admire characterization. ‐ New York Times
Posted Jul 22, 2013
3/5 17% First Family (1980) [First Family] has sequences that are side-splittingly funny, others that are sublimely cheerful and still others that, like the movie itself, simply don't know how to end. ‐ New York Times
Posted Jun 25, 2013
4/5 67% The Great Northfield Minnesota Raid (1972) A lovely, odd sort of middle Western. That is, it's neither conventional Western fiction nor completely documented fact, although it makes full use of history and is as crammed with the artifacts of 19th-century America. ‐ New York Times
Posted May 8, 2013
1.5/5 22% Tell Me That You Love Me, Junie Moon (1970) Preminger doesn't direct movies as much as he makes frontal assaults on them. ‐ New York Times
Posted May 8, 2013
4/5 60% Gaily, Gaily (1969) A movie of great and exuberant charm, one that pays homage to the classic conventions of American farce by defining them with nostalgia and cinematic wit. ‐ New York Times
Posted May 6, 2013
3.5/5 No Score Yet Warrendale (1967) Like the life it records, it simply exists, beyond criticism. ‐ New York Times
Posted Mar 28, 2013
22% Diary of Forbidden Dreams (1973) The girl, the villa and the performances are beautiful enough to bridge those sequences when the film, like its heroine, seems searching for explanations that will never be found. ‐ New York Times
Posted Mar 27, 2013
2/5 13% Animal Behavior (1989) The movie plays as if it had not been directed by anyone, or as if someone had come along and attempted to improve whatever the original director had done. ‐ New York Times
Posted Apr 1, 2012
2/5 60% Dylan Thomas' Under Milk Wood (1973) Too many words, I'm convinced, for the screen. It's not simply the quantity of words, though. It's also their ornateness. They overflow the ears and get into the eyes. ‐ New York Times
Posted Mar 23, 2011
2/5 No Score Yet The Act of the Heart (1970) There is no grand tragic logic in The Act of the Heart. When I left the theater I simply felt that I'd seen a terrible accident. ‐ New York Times
Posted Jan 31, 2011
3/5 67% Victory (1981) The form of the film is conventional, but the manner in which it has been executed is not. ‐ New York Times
Posted Aug 13, 2010
3/5 No Score Yet Butterfly (1982) A most entertainingly sleazy melodrama. ‐ New York Times
Posted Nov 11, 2009
55% La Luna (1979) No amount of purloined Verdi can transform these banalities into anything else, while the film's ending, if it means what it certainly seems to mean, would embarrass a backstage Broadway musical movie, much less a backstage Rome opera movie. ‐ New York Times
Posted Jul 16, 2008
3/5 100% Taking Off (1971) Mr. Forman's specialty is tender farce played out in what are, essentially, very bleak circumstances. ‐ New York Times
Posted Jun 18, 2008
3/5 No Score Yet Fast Break (1979) As do some of our most popular standup comedians, Mr. Kaplan sort of floats over his material, always in charge of it, but never deeply involved. This is not a rebuke. ‐ New York Times
Posted Mar 24, 2008
2/5 86% The Exorcist (1973) The Exorcist is not an unintelligently put-together film, which makes one all the more impatient with it. ‐ New York Times
Posted Mar 19, 2008
88% Semi-Tough (1977) Semi-Tough pokes fun in rambling fashion, but it is vulgar in intelligent ways and almost always amusing in its perceptions of befuddled people who are perfectly healthy but often convinced they're not. ‐ New York Times
Posted Jan 25, 2008
3/5 52% I Am Curious (Blue) (Jag är nyfiken - en film i blått) (1967) I'm not very fond of this sort of moviemaking, which tries to disarm conventional criticism by exploiting formlessness as meaningful itself, but I like Sjoman's sense of humor and sense of humanity, and his obvious affection for Lena. ‐ New York Times
Posted Jan 22, 2008
1/5 No Score Yet Edith and Marcel (1983) All-awful. ‐ New York Times
Posted Jan 15, 2008
2/5 20% Happy New Year (1973) It bubbles occasionally, but like low-calorie club soda. ‐ New York Times
Posted Jan 15, 2008
4/5 No Score Yet Robert et Robert (1978) They are good company. ‐ New York Times
Posted Jan 15, 2008
17% Death Hunt (1981) Nothing in Death Hunt makes a great deal of sense, though the scenery is rugged and the snowscapes beautiful. ‐ New York Times
Posted Dec 26, 2007
2/5 0% La Increíble Mujer Diminuta (1981) The film's major difficulty is the screenplay by Jane Wagner. ‐ New York Times
Posted Dec 10, 2007
4.5/5 100% Trafic (Traffic) (1972) Like Godard, Tati is also remarkably appreciative of the odd beauty that can be revealed in the shapes, patterns and colors created by the technology of planned obsolescence. ‐ New York Times
Posted Nov 14, 2007
3.5/5 50% La Chambre Verte (The Green Room) (1979) It is a most demanding, original work and one must meet it on its own terms, without expectations of casual pleasures. ‐ New York Times
Posted Nov 13, 2007
2/5 14% The Arrangement (1969) Kazan seems to have turned his search for identity into a callous soap opera, unworthy of a man of Kazan's true talent. ‐ New York Times
Posted Nov 1, 2007
0.5/5 No Score Yet Best Defense (1984) It really isn't easy to make a movie as mind-bendingly bad as Best Defense. It takes hard work, a very great deal of money and people so talented that it matters when they fail with such utter lack of distinction. ‐ New York Times
Posted Oct 30, 2007
4.5/5 100% The Adversary (Pratidwandi) (Siddharta and the City) (1972) The Adversary moves so quietly, with such seeming politeness to jaded film senses, that it takes a while to realize that for all its somberness it's a particularly moving comedy. ‐ New York Times
Posted Oct 24, 2007
4/5 86% Edipo re (Oedipus Rex) (1967) It's not always necessary to understand Pasolini to be riveted by what he does. ‐ New York Times
Posted Oct 23, 2007
2.5/5 67% Corruption (1968) The contemporary setting works against the kind of tale that was even a bit silly in the pre-heart-transplant era. ‐ New York Times
Posted Sep 29, 2007
2.5/5 67% 200 Motels (1971) 200 Motels has no particular focal point, being principally an anthology of poor jokes and spectacular audio-visual effects, a few of which might expand the mind, but all of which, taken together, are like an overdose of Novocain. ‐ New York Times
Posted Sep 10, 2007
2.5/5 90% Duck, You Sucker (Giù la testa) (1972) The idiosyncrasies are there, all right, but they have never seemed less interesting. ‐ New York Times
Posted Sep 4, 2007
2/5 61% Prelude to a Kiss (1992) This Prelude to a Kiss is not only without charm and wit, but it's also clumsily set forth: many people seeing it may wonder what, in heaven's name, is going on. ‐ New York Times
Posted Aug 14, 2007
5/5 80% Face to Face (Ansikte mot Ansikte) (1976) Mr. Bergman is more mysterious, more haunting, more contradictory than ever, though the style of the film has never been more precise, clear, levelheaded. ‐ New York Times
Posted Jul 31, 2007
3/5 50% Black Moon (1975) There is an order to this film, but we must supply it, each according to his needs. ‐ New York Times
Posted Jun 23, 2007