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Geoffrey Nowell-Smith

Geoffrey Nowell-Smith's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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The Innocent (1976) 79% EDIT “Nothing in the film quite fulfils the promise of the opening moment... But L'Innocente is nevertheless a remarkable film.” – Sight & Sound Mar 31, 2020 Full Review 1900 (1976) 52% EDIT “Its eccentricity, and the incorporation of this eccentricity into the staid format of the historical spectacular, proves to be its redemption.” – Sight & Sound Mar 31, 2020 Full Review The Ipcress File (1965) 97% EDIT “[Sidney] Furie is a sensitive director and the film is not a total sell-out.” – Sight & Sound Mar 31, 2020 Full Review Riddles of the Sphinx (1977) EDIT “To find a film which crosses the frontiers of different audience expectations, which is unassuming and yet rigorous in its intellectual stance, and pleasurable and provocative at the same time, is rare indeed.” – Sight & Sound Mar 19, 2020 Full Review Zazie in the Subway (1960) 78% EDIT “If the whole of Zazie were as good as some of its ideas then the effort might be worth while. But the film is, in the last analysis, a failure.” – Sight & Sound Mar 6, 2020 Full Review The Four Days of Naples (1962) 80% EDIT “Four Days of Naples is in almost all respects indistinguishable from so many other similar films on similar themes.” – Sight & Sound Feb 11, 2020 Full Review Nazarín (1959) 86% EDIT “Bunuel's surrealism is really a kind of mysticism in reverse, He has had to wrestle, not with the devil, but with the angel in him, and in Nazarin traces of the struggle are still apparent.” – Sight & Sound Feb 11, 2020 Full Review The Legend of the Holy Drinker (1988) EDIT “The ordinariness of the film is its greatest strength. The problem comes when it has to represent the extraordinary.” – Sight & Sound Jan 17, 2020 Full Review Do the Right Thing (1989) 92% EDIT “For all its apparent roughness, Do the Right Thing is aesthetically very sophisticated, particularly in the first half. But at the end it collapses both aesthetically and politically.” – Sight & Sound Jan 16, 2020 Full Review
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