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A.H. Weiler
A.H. Weiler's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
New York Times
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Brandy in the Wilderness (1971) |
Since the film is its own mark of achievement, it must also be noted that, despite its commendable sincerity, it is often as callow as its principals' dedicated but fumbling efforts to make it as people and movie makers. - New York Times
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| Posted Jun 30, 2020
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Across the Great Divide (1976) |
The Pacific Northwest and its fauna are still eye-fillingly photogenic and the principals are cheerful and endearing, if amazingly indomitable. - New York Times
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| Posted Jun 17, 2020
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The Murder of Fred Hampton (1971) |
Although it is unabashedly biased and it is flawed in technical execution, it emerges as a disturbingly somber illustration of some of the ills that beset us and our social system. - New York Times
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| Posted Jun 05, 2020
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Wyoming Mail (1950) |
It may be set -- a notch, say -- above the run-of-the-range sagebrush saga. - New York Times
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| Posted Apr 15, 2020
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Emmanuelle (1974) |
As a study of a young wife's amours in high and low Bangkok society, Emmanuelle is a fluffy consignment of romantic, slick, soft‐core, sexual simulations that is largely uninspired and hardly a revelation to enthusiasts long exposed to the genre. - New York Times
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| Posted Mar 31, 2020
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Good Neighbor Sam (1964) |
Mr. Lemmon and company breathlessly toss gags from bedrooms to advertising offices with verve and vigor. It might not make much sense to a discerning viewer, but it is good for more than a fair portion of giggles and one or two guffaws. - New York Times
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| Posted Mar 16, 2020
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The Leather Boys (1963) |
[Director Sidney J. Furie] and his cast, who are not constantly effective with a relatively thin theme, have managed to elicit honesty and genuine tenderness and humor from their simple drama. - New York Times
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| Posted Mar 11, 2020
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The Hoodlum Priest (1961) |
Despite its faults, however, The Hoodlum Priest makes its plea, dedication and story strongly felt. - New York Times
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| Posted Feb 11, 2020
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Lola (1961) |
If Lola is not a masterwork, its general polish and intent augur a bright future for the 31-year-old Mr. Demy. - New York Times
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| Posted Mar 01, 2017
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Valley of the Kings (1954) |
The modern romantic adventure displayed here is hardly as impressive as the monuments of the ancient civilization against which it is played. - New York Times
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| Posted Apr 05, 2016
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Too Late for Tears (1949) |
Despite an involved plot and an occasional overabundance of palaver, not all of which is bright, this yarn about a cash-hungry dame who doesn't let men or conscience stand in her way, is an adult and generally suspenseful adventure. - New York Times
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| Posted Oct 30, 2015
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Wild River (1960) |
Both sections of the flavorful, vernacular-filled screen play have been given professional treatment. - New York Times
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| Posted Feb 19, 2015
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Cluny Brown (1946) |
Let is be noted at the outset that Ernst Lubitsch has come up with a delectable and sprightly lampoon in Cluny Brown. - New York Times
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| Posted Jun 05, 2014
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Hickey & Boggs (1972) |
"Hickey and Boggs" is not involved in a story or with characters really worthy of a full theatrical treatment. - New York Times
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| Posted May 21, 2014
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Requiem for a Heavyweight (1962) |
A serious incisive drama that pulls no punches in its low-keyed exposure of its pitiable has been hero and the sleazy, harried sidekicks who share his sweat-stained and blood-stained world. - New York Times
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| Posted Dec 18, 2013
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Dreams (1955) |
It is not a major concept he is dramatizing, and it lacks the hallmarks of imagination, expressive symbolism and poetic nuances of some of the truly memorable films that followed Dreams. - New York Times
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| Posted Jul 23, 2013
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All These Women (1964) |
Ingmar Bergman, who has tackled religion, sin, sex, music and muddled mores in elliptical but artistically distinguished film style, appears to be confused by comedy and color. - New York Times
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| Posted Jul 22, 2013
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The Light Touch (1951) |
The Light Touch, in short, may not be art but it is entertaining. - New York Times
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| Posted Apr 08, 2008
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And Now My Love (1974) |
Mr. Lelouch, of course, gives amour its due in And Now My Love, but this is not nearly so impressive as his perceptive, often touching portraits of three eras and their principals. - New York Times
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| Posted Jan 15, 2008
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Black Girl (1966) |
Mr. Sembne makes his point neatly and dramatically. - New York Times
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| Posted Oct 22, 2007
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Black God, White Devil (1964) |
Simple, black-and-white, more arresting as a shocking polemic than as memorable drama. - New York Times
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| Posted Apr 11, 2007
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Cry of the City (1948) |
Cry of the City may be strident at times but its message, story and players are thoroughly effective. - New York Times
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| Posted Feb 10, 2007
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Niagara (1953) |
Obviously ignoring the idea that there are Seven Wonders of the World, Twentieth Century-Fox has discovered two more and enhanced them with Technicolor in "Niagara." - New York Times
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| Posted Oct 31, 2006
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It Came From Outer Space (1953) |
Merely mildly diverting, not stupendous. - New York Times
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| Posted Oct 31, 2006
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A Girl in Every Port (1952) |
An involved mlange of obvious antics and gags, only one or two of which are likely to generate chuckles. - New York Times
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| Posted Oct 31, 2006
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Any Number Can Play (1949) |
A competently acted and interesting entertainment but no great revelation. - New York Times
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| Posted Oct 31, 2006
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Them! (1954) |
Definitely a chiller. - New York Times
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| Posted Oct 31, 2006
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The Adventures of Ichabod and Mr. Toad (1949) |
Mr. Disney, abetted by his staff, such perfect narrators as Bing Crosby and Basil Rathbone, and a pair of durable literary works, has fashioned a conclave of cartoon creatures, which... have the winsome qualities and charm of Mickey Mouse, Dumbo, et al. - New York Times
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| Posted Oct 31, 2006
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Creature From the Black Lagoon (1954) |
This adventure has no depth. - New York Times
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| Posted Oct 31, 2006
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The War of the Worlds (1953) |
Mind those heat rays! - New York Times
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| Posted Oct 31, 2006
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The Silver Chalice (1954) |
Though it is lavish and sweeping in execution, The Silver Chalice, for all of its august and religious aspects, is not an imposing offering. - New York Times
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| Posted Oct 31, 2006
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Riot in Cell Block 11 (1954) |
The grim business of melodrama behind prison walls, so often depicted in standard, banal fashion in films, is given both tension and dignity in Riot in Cell Block 11. - New York Times
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| Posted Oct 31, 2006
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The Beast From 20,000 Fathoms (1953) |
Despite more than a suspicion of palaver, it generates a fair portion of interest and climactic excitement ... - New York Times
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| Posted Oct 31, 2006
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The Hitch-Hiker (1953) |
Both Edmond O'Brien and Frank Lovejoy are experts as stalwart men gripped in a situation they never made. - New York Times
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| Posted Oct 31, 2006
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The Importance of Being Earnest (1952) |
Mr. Asquith and his top-flight English cast, aided greatly by an artistic use of Technicolor, not only treat this rickety affair with reverence, but endow the lines with charm in keeping with the period. - New York Times
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| Posted Oct 31, 2006
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Rachel and the Stranger (1948) |
Rachel and the Stranger may not be history precisely, but as a cinematic footnote it certainly is far more palatable than most texts. - New York Times
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| Posted Aug 08, 2006
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Road House (1948) |
List first the fact that Widmark, though he stands in danger of being typed as the screen's prime psychotic, does an excellent job (complete with chilling laughter). - New York Times
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| Posted Aug 08, 2006
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Son of Dracula (1943) |
Despite all the accepted props, from the lonely Southern plantation set in a miasmic bog to the squeaking bats and creaking coffins, this thriller is a pretty pallid offering. - New York Times
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| Posted Aug 08, 2006
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Angels in the Outfield (1951) |
This combination of whimsy, sports, religious faith and romance is a heart-warming and edifying amalgam which can pass the test of what is traditionally termed entertainment - New York Times
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| Posted Mar 25, 2006
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Horror of Dracula (1958) |
Perhaps the constant hunt for hemoglobin is slowing our villain down, for this time there are strong indications that the once gory plot is showing definite signs of anemia. - New York Times
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| Posted Mar 25, 2006
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The Wrong Man (1956) |
Frighteningly authentic, the story generates only a modicum of drama. - New York Times
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| Posted Mar 25, 2006
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Indiscreet (1958) |
A thin but impishly gay and enchanting film. - New York Times
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| Posted Mar 25, 2006
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The Young Philadelphians (1959) |
The trials and tribulations of the rich, like those of the poor, can be undramatic. - New York Times
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| Posted Mar 25, 2006
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On Approval (1944) |
On Approval, which augured either a cute commentary on manners or a Beatrice Lillie bonanza, turned out to be an uneven little lampoon that more often than not did not come off. - New York Times
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| Posted Mar 25, 2006
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Clash by Night (1952) |
It lacks conviction and distinction despite its hard-working principals. - New York Times
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| Posted Mar 25, 2006
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Darby O'Gill and the Little People (1959) |
[An] overpoweringly charming concoction of standard Gaelic tall stories, fantasy and romance. - New York Times
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| Posted Mar 25, 2006
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Saint Joan (1957) |
Mr. Preminger, his scenarist and his cast, who obviously were serious in tackling an important drama, have only fashioned a series of dissertations on an important theme. - New York Times
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| Posted Mar 25, 2006
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Party Girl (1958) |
There is little that is novel or exciting about this Party Girl, despite her trappings or the occasional gunplay that surrounds her. - New York Times
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| Posted Mar 25, 2006
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Rio Bravo (1959) |
Despite its slickness, virility, occasional humor and, if it may be repeated, authentic professional approach, it is well-made but awfully familiar fare. - New York Times
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| Posted Mar 25, 2006
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A Majority of One (1961) |
A wholly acceptable, truly heartwarming and entertaining affair despite its exotic ingredients. - New York Times
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| Posted Sep 26, 2005
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