Robert Hatch
Robert Hatch's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
The New Republic
The Nation
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Diabolique (1955) |
Clouzot is a man of intelligence and skill who shows himself to be excited by only two sensations -- cruelty and disgust. His appeal is as degenerate as the horror comics, and more offensive because it is more cultivated. - The Nation
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| Posted Jan 31, 2023
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High Noon (1952) |
What it comes down to is that the makers of High Noon, in an attempt to inject new content into the standard Western formula, have raised vexing moral issues that they have no intention of treating in a responsible way. - The Reporter
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| Posted Sep 20, 2022
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La Strada (1954) |
Quinn's rough mastery of his crude little show, his bull rage in the face of perplexity or new circumstances, and Basehart's inhuman agility and asexual glee are pantomime creatures of a high order. - The Nation
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| Posted Sep 14, 2022
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Gigi (1958) |
Alan Lerner and Frederick Loewe will probably never repeat the hysterical success of [My Fair Lady], and yet they have made a very nice show out out of Colette's durable comedy. - The Nation
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| Posted Mar 24, 2022
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Porgy and Bess (1959) |
The cast had the talent for Porgy and Bess, but Mr. Goldwyn and Mr. Preminger have made them little more than supernumeraries to sensation. - The Nation
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| Posted Jan 20, 2022
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Marty (1955) |
Marty is a modest film, not very important and not very memorable, but I wish it well. For one thing, it is a timely rebuttal of Hollywood's repeated insinuation that sex is the prerogative of the spectacularly sexy. - The Nation
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| Posted Oct 18, 2021
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Suddenly, Last Summer (1959) |
[Mankiewicz] has turned out a polished film, and one that deals boldly with the ugly theme, but he has certainly not wasted any subtlety on the job. - The Nation
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| Posted Jul 27, 2021
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Black Orpheus (1959) |
[Black Orpheus] is an example of taste in search of a style. It is full of good ideas and moving perceptions... But somehow the film never ignites. - The Nation
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| Posted Jul 27, 2021
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Pather Panchali (1955) |
What I did grasp seemed to be over-assertive as to photography and under-developed as to drama -- it was all exquisitely downhill. - The Nation
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| Posted May 05, 2021
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Seven Samurai (1954) |
Kurosawa and his cast share an image of chivalry that is exceedingly winning. - The Nation
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| Posted May 04, 2021
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Lawrence of Arabia (1962) |
[O'Toole] looks a good deal like Lawrence's portraits and he rides a camel with great authority. But he cannot project a sense of magic and, in moments of alleged spiritual agony, he merely looks dazed. - The Nation
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| Posted Apr 12, 2021
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Bedazzled (1967) |
The film is one of those ventures that rely heavily on humorous costumes and the dropping of famous names. - The Nation
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| Posted Feb 10, 2021
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In Cold Blood (1967) |
In the end, one is left, not with a work of art, not with a document but with a cliché. It is an inadequate monument, even to a pair of stupid criminals. - The Nation
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| Posted Feb 10, 2021
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The Rose Tattoo (1955) |
It is a rousing spectacle -- and [Anna Magnani] is the best possible antidote -- to the antiseptic, nylon-packaged blandishments that symbolize sex on | the billboards. - The Nation
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| Posted Dec 23, 2020
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The Prisoner (1955) |
The plot is oddly bland. - The Nation
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| Posted Dec 23, 2020
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Letters From My Windmill (1954) |
Daudet's Lettres de Mon Moulin seem a marvelous chance for the piquant-sentimental style of Marcel Pagnol. But it has not worked out that way. - The Nation
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| Posted Dec 23, 2020
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The Man With the Golden Arm (1955) |
Forgetting for a moment the contempt Otto Preminger has shown for the spirit of Algren's novel, he has committed the commercial sin of producing and directing a dull movie. - The Nation
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| Posted Dec 23, 2020
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Ulysses (1967) |
The film does not pretend to supplant Ulysses; it takes bold, responsible and joyous advantage of the fact that the book exists. - The Nation
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| Posted Nov 23, 2020
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Accident (1967) |
The spectacle of a pair of rivalrous dons dangerously tir- ing themselves over a bit of narcissistic fluff is too miserably commonplace to be animated by lavish décor and cunning photography. - The Nation
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| Posted Nov 23, 2020
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La Caza (1966) |
I felt from the start that these men were behaving in obedience to the script rather than according to logic or their own inclinations. - The Nation
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| Posted Nov 23, 2020
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Marat/Sade (1967) |
Marat/Sade seems to me more theatre than drama. It is perhaps a lesser achievement for that reason, but in the hands of Peter Brook and... the Royal Shakespeare Company, theatre is raised to a height of proficiency that confers its own delight. - The Nation
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| Posted Nov 23, 2020
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La Guerre Est Finie (1966) |
Elegant, exhausted, resilient and courageous without illusion, Montand is impressive. - The Nation
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| Posted Nov 23, 2020
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Night Games (1966) |
Horrification is a delicate theatrical operation; overcook it ever so little and it curdles into slapstick. That is the accident that occurred to Night Games. - The Nation
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| Posted Nov 23, 2020
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Galia (1966) |
The proposition, widely touted, that the French-Italian Galia is a naughty and delicious comedy will not stand the test of seeing the picture. - The Nation
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| Posted Nov 23, 2020
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Blow-Up (1966) |
Blow-Up is a work of wit and caustic intelligence, superbly disciplined, elegantly styled, visually astonishing and, for all that, turned out with the deceptive simplicity of perfect craftsmanship. - The Nation
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| Posted Nov 23, 2020
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Fanny and Alexander (1982) |
It smiles at its characters' follies but cherishes their valor, and in their behalf it employs magic with the casual authority of Prospero himself. - The Nation
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| Posted Feb 06, 2018
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Hearts and Minds (1974) |
It operates to arouse hatred against hatred, to induce a gut reaction against gut reactions, and by so doing serves to sustain a morbid emotionalism of the very sort it claims to abominate. - The Nation
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| Posted Feb 06, 2018
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Manhattan (1979) |
There is a good deal of honest concern in Allen's wrestling with the Angel, not to mention that he is a man of uncommon charm and wit. But the theme is beginning to wear thin ... - The Nation
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| Posted Feb 06, 2018
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Reds (1981) |
Beatty, who produced, directed, helped to write and starred in this impressive work, may be forgiven for not having the heart to cut it. - The Nation
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| Posted Feb 05, 2018
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Jules and Jim (1962) |
A work of decadent high romance-a tour de force carrying hints of terror beneath its gay, melancholy and noble surface. - The Nation
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| Posted Feb 05, 2018
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Chinatown (1974) |
The picture is a kind of pop masterpiece, bursting with vigor, ingenious as the devil, handsome, efficient, engrossing-and quite deliberately divorced from any reality outside a dark theatre. - The Nation
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| Posted Feb 05, 2018
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Bonnie and Clyde (1967) |
I have some doubt that Bonnie and Clyde were quite the hallucinated children that Penn makes them, but in retrospective fiction they legitimately become so. - The Nation
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| Posted Feb 05, 2018
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Atlantic City (1980) |
It abounds in heroics, glories in coincidence, indulges in sentiment, laughs at Cupid's bizarre sense of humor and provides sumptuous parts for the five leading players, who know how to seize their opportunities. - The Nation
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| Posted Feb 05, 2018
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Dog Day Afternoon (1975) |
I was entertained but somewhat less than satisfied, and I hope I can say that and still convey the idea that I think well of the film. - The Nation
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| Posted Feb 05, 2018
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Poltergeist (1982) |
Spielberg's intent may be satirical, but I find these stereotypes even more depressing than hobgoblins, and would not have minded if they'd all been dragged off into the fourth dimension. - The Nation
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| Posted Jan 30, 2018
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Nashville (1975) |
Nashville is boisterous, good-natured, funny, exciting and brutal; it will exhaust you and you will feel rewarded. - The Nation
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| Posted Jan 30, 2018
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E.T. the Extra-Terrestrial (1982) |
Spielberg works well with children, but never before has he directed them with such reticence or such appreciation of their humor, intelligence and decency. - The Nation
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| Posted Jan 30, 2018
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Tootsie (1982) |
Shadow-boxing his way downtown, Dorsey suddenly yells, "I'm a great character actor; I can play anybody!" In Tootsie, Hoffman proves that he just about can. - The Nation
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| Posted Jan 30, 2018
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The Discreet Charm of the Bourgeoisie (1972) |
I must assure you that, such is Buuel's wizard command of cinematic juxtapositions, the proceedings are delightfully clear, as well as light and witty. - The Nation
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| Posted Jan 30, 2018
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Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964) |
Mr. Kubrick is a bold man: he has taken a whole complex of America's basic assumptions by the shoulders and given them a rough shaking. - The Nation
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| Posted Jan 30, 2018
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Apocalypse Now (1979) |
Coppola says he wanted to get to the moral issues that are behind all wars, but I think he has done no more than demonstrate the obvious-that in Vietnam we fought a bad war. - The Nation
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| Posted Jan 30, 2018
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The Sorrow and the Pity (1969) |
The Sorrow and the Pity, whose dark base, after all, is set in suffering and death, is nevertheless a celebration of life. - The Nation
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| Posted Jan 30, 2018
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Blackboard Jungle (1955) |
The Blackboard Jungle is a sentimental melodrama masquerading as a social document, which in its own way is as dangerous a little gadget as a zip gun. - The Nation
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| Posted Jan 30, 2018
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East of Eden (1955) |
East of Eden deals with inner conflict; the entire story could be played out in a living room. Instead it sprawls all over the eye-filling landscape and the real action is padded ... - The Nation
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| Posted Jan 30, 2018
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2001: A Space Odyssey (1968) |
A great deal of skill and ingenuity went into this amazing voyage to nowhere. - The Nation
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| Posted Jan 30, 2018
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Norma Rae (1979) |
While no flying nun, Sally Field is no less than heavenly as a wife and mother, organizing her fellow workers in a Southern textile factory. - The Nation
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| Posted Jan 30, 2018
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Raging Bull (1980) |
From this disastrous and brutal history, Martin Scorsese has made a brutal, discerning and bleakly beautiful picture. - The Nation
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| Posted Jan 30, 2018
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The Godfather (1972) |
I found that flogging about for three hours in that quagmire was spiritually debilitating and a crazy waste of time. - The Nation
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| Posted Jan 30, 2018
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Vertigo (1958) |
At the risk of sounding slow-witted, I must complain that Alfred Hitchcock's Vertigo was a little too difficult for me. - The Nation
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| Posted Jan 30, 2018
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Harlan County, U.S.A. (1976) |
Harlan County attains its main goal-to honor a segment of our society which the rest of America has been willing to write off as underdogs, victims sacrificed to the imperatives of an industrial nation. - The Nation
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| Posted Jan 30, 2018
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