Howard Thompson
Howard Thompson'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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The Turning Point (1952) |
A sober but uninspired drama of anti-crime crusading in a midwestern city. - New York Times
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| Posted Apr 04, 2022
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Too Late Blues (1962) |
Mr. Cassavetes' direction has noiseless-needle precision. Young Man With a Horn may have been plusher and Pete Kelly's Blues gaudier -- and both more entertaining -- but we'll take Mr. Cassavetes' head-on honesty. - New York Times
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| Posted Jul 15, 2020
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Let's Kill Uncle (1966) |
Mr. Castle... has paced the film like molasses.Even so, the situation itself is beguiling and the two youngsters and the blandly wide-eyed Mr. Green sustain the tension with their pert playing, at times blithely humorous. - New York Times
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| Posted Jun 23, 2020
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Untamed Frontier (1952) |
While Director Hugo Fregonese starts the proceedings at a brisk pace, it becomes obvious that both he and the three scenarists... intended to fashion a medium-sized Duel in the Sun, piling on the same contrived tawdriness. - New York Times
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| Posted May 08, 2020
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The Pit and the Pendulum (1961) |
Roger Corman has evoked a genuinely chilling mood of horror. - New York Times
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| Posted Mar 18, 2020
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Crack in the World (1965) |
The best science-fiction thriller this year. - New York Times
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| Posted Mar 05, 2020
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Hell to Eternity (1960) |
[It's] no great, soaring World War II drama. But as a sturdy anti-war sermon, trimly told and performed with realistic compassion, this medium-sized picture is tough, thoughtful and, especially in one extended battle sequence, tingling. - New York Times
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| Posted Feb 07, 2020
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Easy Living (1949) |
But perhaps the most persuasive thing about "Easy Living" is the forthright depiction of professional football as a stimulating, cash-on-the-line business, one Mr. Schnee seems to understand from locker room to goalpost. - New York Times
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| Posted Aug 16, 2019
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A Matter of Days (À Quelques Jours Pres) (1969) |
A Matter of Days is an affectionate, picturesque look at campus unrest. But coated with a double love story, it seems pretty and remote compared to recent events here and elsewhere. - New York Times
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| Posted Jul 23, 2019
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The Glory Brigade (1953) |
While The Glory Brigade falls short in general impact and conviction, this Twentieth Century-Fox Korean war drama... has a couple of solid attributes. - New York Times
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| Posted Jul 23, 2019
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Images (1972) |
This clanging, pretentious, tricked-up exercise, is almost a model of how not to dramatize the plight of a schizoid. - New York Times
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| Posted Jan 14, 2019
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(undefined) |
Adults and the more sophisticated youngsters probably will find Island of the Blue Dolphins a bit thin and sugary. Never mind, though, kiddies. This one is strictly for you. - New York Times
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| Posted Nov 19, 2018
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Joy in the Morning (1965) |
Joy in the Morning, with television's teen-age idol, Richard Chamberlain, and young Yvette Mimeux braving the woes of young married life, is a soap opera for teen-agers. - New York Times
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| Posted Nov 19, 2018
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Tamahine (1963) |
Under Philip Leacock's smooth direction, the picture moves at a brisk clip, with some deft dialogue, and all in the spirit of light, iconoclastic fun. - New York Times
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| Posted Oct 12, 2018
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Two on a Guillotine (1965) |
A dull, silly, tedious clinker-and about as hair-raising, be warned, as a jack-o'-lantern. - New York Times
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| Posted Jan 30, 2018
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A Matter of Morals (1961) |
[Matter of Morals] is a baffling, yet curiously compelling exercise in ethics-philosophical and sexual. - New York Times
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| Posted Jan 17, 2018
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The Jungle Book (1967) |
Smple, uncluttered, straight-forward fun. - New York Times
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| Posted Apr 15, 2016
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Vali: The Witch of Positano (1965) |
The trouble with "Vali," a feature documentary portrait of a professional eccentric, is that neither the picture nor the heroine is very interesting. - New York Times
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| Posted Feb 17, 2015
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The President's Lady (1953) |
The stars make sincere and energetic but hardly memorable protagonists. - New York Times
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| Posted Jun 18, 2012
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Toby Tyler (1960) |
"Toby Tyler" can boast some of the most engaging, unstrained performers in many a Disney moon. - New York Times
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| Posted Apr 03, 2012
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Battle Circus (1953) |
An absorbing, often tingling background of a mobile Army surgical hospital at the Korean front. Unfortunately for the general pace and impact, considerable time is allotted to a dawdling and familiar personal drama. - New York Times
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| Posted Apr 08, 2008
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My Side of the Mountain (1969) |
A slender, honest study of a boy learning to be a man his own way. - New York Times
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| Posted Oct 30, 2007
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Trilogy (1969) |
It quietly says and conveys more about the human heart and spirit than most of today's free-wheeling blastaways on the screen. Delicately, it towers. - New York Times
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| Posted Oct 30, 2007
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Conflagration (1958) |
This dignified, purposeful film is often touching as a case history of doomed innocense at bay. But its coils of compromise and corruption are even more credible and haunting. - New York Times
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| Posted Oct 23, 2007
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A Boy Ten Feet Tall (1963) |
Above average. - New York Times
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| Posted Jun 09, 2007
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Cat-Women of the Moon (1953) |
As for "Cat-Women of the Moon," which went on and on and on at the Rialto yesterday, it pits such earthlings as Sonny Tufts, Victor Jory and Marie Windsor against a small group of lovelies camouflaged in black tights and smeary make-up. - New York Times
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| Posted Oct 30, 2006
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Snoopy, Come Home (1972) |
Most of the time you'll smile or chuckle. - New York Times
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| Posted Sep 30, 2006
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Magnificent Obsession (1954) |
Primary credit for mooring the picture to an earthly and earthy plane belongs to the two stars. - New York Times
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| Posted Aug 08, 2006
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Pete Kelly's Blues (1955) |
Pete Kelly's Blues is an incredible waste of tantalizing music and decor designed for the sole purpose of letting Jack Webb strut his stuff almost exactly as before. - New York Times
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| Posted Aug 08, 2006
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The Big Combo (1955) |
A sputtering, misguided antique. - New York Times
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| Posted Aug 08, 2006
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Pushover (1954) |
Viewed strictly on its own, as it should be, this modest Columbia melodrama is a creditable job for about half the time. - New York Times
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| Posted Aug 08, 2006
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Casque d'Or (1952) |
An insular underworld drama of love and revenge vibrates authentically against a vividly etched background of early century Paris. - New York Times
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| Posted Aug 08, 2006
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The Devil Strikes at Night (1958) |
It crouches but -- alas -- never springs. - New York Times
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| Posted Mar 25, 2006
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Man of the West (1958) |
This is a small picture, but it does have a cryptic defiance and an aura of snakelike evil that gets one. - New York Times
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| Posted Mar 25, 2006
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The Blob (1958) |
Unfortunately, [Harris's] picture talks itself to death, even with the blob nibbling away at everybody in sight. And most of his trick effects, under the direction of Irvin S. Yeaworth Jr., look pretty phony. - New York Times
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| Posted Mar 25, 2006
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Grisbi (1954) |
The acting is consistently good. M. Gabin is, of course, an old hand at bland toughness. Rene Dary and Paul Frankeur, as two colleagues; Jeanne Moreau and Dora Doll, as two unlucky ladies, and Lino Ventura and Denise Clair... are sordidly convincing. - New York Times
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| Posted Mar 25, 2006
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Gun Crazy (1950) |
Handsomely produced by the King Brothers, from an original story by MacKinlay Kantor, this spurious concoction is basically on a par with the most humdrum pulp fiction. - New York Times
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| Posted Mar 25, 2006
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The Shaggy Dog (1959) |
Brisk but unrewarding. - New York Times
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| Posted Mar 25, 2006
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King Creole (1958) |
As the lad himself might say, cut my legs off and call me Shorty! Elvis Presley can act. - New York Times
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| Posted Mar 25, 2006
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House on Haunted Hill (1959) |
A stale spook concoction from the William Castle-Robb White production team. - New York Times
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| Posted Mar 25, 2006
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The Colossus of Rhodes (1961) |
What a place! For that matter, what a picture! - New York Times
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| Posted Jun 15, 2005
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Cactus Flower (1969) |
It comes as a pleasing jolt to find the youngster, Goldie Hawn, at the apex of the triangle, not only beautifully holding her own with the two veteran stars but also enhancing the content and flavor of the movie. - New York Times
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| Posted May 10, 2005
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Danger: Diabolik (1968) |
Infantile junk. - New York Times
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| Posted May 10, 2005
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The Magnificent Seven (1960) |
Even with some highly fetching Mexican scenery in color, this United Artists release, thrusting Yul Brynner well to the fore, is a pallid, pretentious and overlong reflection of the Japanese original. - New York Times
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| Posted May 10, 2005
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The Long Ships (1964) |
A hollow movie and a loud one - but it moves. - New York Times
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| Posted May 10, 2005
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Swiss Family Robinson (1960) |
It's hard to imagine how the picture could be better as a rousing, humorous and gentle-hearted tale of family love amid primitive isolation and dangers. - New York Times
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| Posted May 10, 2005
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Dinosaurus! (1960) |
Motion picture art hit rock bottom all over town yesterday with the arrival of Dinosaurus! - New York Times
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| Posted May 10, 2005
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Doc (1971) |
Doc misfires. Too bad. this picture is loaded with talent and potential. - New York Times
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| Posted May 10, 2005
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The Men Who Tread on the Tiger's Tail (1945) |
Even for its brevity, the import remains a long, tedious conversation piece, interspersed with reedy songs and a few interesting, mobile faces. Most of the time the members of the all-male cast sit around on their haunches. - New York Times
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| Posted May 10, 2005
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Charulata (1964) |
To put it baldly, as the Ray camera could never do, the picture is an artistic masterpiece, impeccably performed, but diluted in impact and power by a stately, inchworm pace that accentuates a plot as old and familiar as the hills. - New York Times
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| Posted May 10, 2005
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