Artforum

Artforum is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Amy Taubin, Dennis Lim, Graham Fuller, Jason Anderson, Jonathan Rosenbaum, Leo Goldsmith, Manny Farber, Manohla Dargis, Melissa Anderson, Nick Pinkerton
Rating Title/Year Author
Double Lives (2018) James Quandt For a work of scrupulously detailed social description, Non-Fiction also tests credulity in details both small. EDIT
Posted May 3, 2019
A Bread Factory, Part One: For the Sake of Gold (2018) Jonathan Rosenbaum Existing below the radar is largely what A Bread Factory is about, so it's unsurprising that Wang often chooses to focus on characters who are very old or very young. EDIT
Posted Apr 18, 2019
High Life (2018) Amy Taubin The madness is hormonal, and its fullest expression is in dance. EDIT
Posted Apr 4, 2019
Us (2019) Amy Taubin Peele's script and direction are very smart... but make no mistake, Nyong'o, who can be at once precise and volcanic, holds the film together and takes it to another level of emotional complexity and power. EDIT
Posted Mar 22, 2019
Out of Blue (2018) Danny King Out of Blue begins to seem like a humorless mood piece in desperate search of an actual mood. EDIT
Posted Mar 21, 2019
Ash Is Purest White (2018) Nick Pinkerton One of [Jia Zhangke's] most endearing traits as a director is his wholly uncondescending approach to pop kitsch, and his respect for the emotional outlet it can provide. EDIT
Posted Mar 15, 2019
Da xiang xi di er zuo (2018) Courtney Duckworth Traces of Béla Tarr (2011's The Turin Horse), who mentored [director] Hu Bo, imbue some of these camera movements too, but Hu's is ultimately a singular vision: less pendular and severe than kinetic, curious. EDIT
Posted Mar 14, 2019
Climax (2018) Nick Pinkerton It combines a virtuoso technical complexity with a view of human behavior that is paleolithic in its simplicity. EDIT
Posted Feb 28, 2019
What Is Democracy? (2018) Lauren O'Neill-Butler [It] doesn't deliver an answer to its titular question or a remedy for our bleak times in the US. What the film offers instead is a peripatetic and sweeping glance at a centuries-old problem through a chorus of shrewd assessments. EDIT
Posted Jan 31, 2019
The Mule (2018) Nick Pinkerton A bizarre, brazen, and often wonderfully surprising film, The Mule will slink into cinemas without the benefit of year-end awards season campaigning. EDIT
Posted Dec 14, 2018
Roma (2018) Amy Taubin Roma is not so much a memory piece but a corrective to memory. It will become more harrowing before it ends, but love will triumph in an ocean ending that's more oceanic than anything I've experienced in the movies, and maybe in life itself. EDIT
Posted Nov 30, 2018
The Favourite (2018) Nick Pinkerton The Favourite is, recognizably, a "well-acted" movie, full of briskly bitchy backbiting, but the films that preceded it created a performance style that asked the viewer to reconsider their existing criteria for good and bad. EDIT
Posted Nov 30, 2018
At Eternity's Gate (2018) Tony Pipolo Even when the camera pauses, we feel its itch to bolt in the wonderfully off-kilter shot/counter shots of the exchanges Vincent has with others. EDIT
Posted Nov 21, 2018
Never Look Away (2018) Tony Pipolo Despite the film's workmanlike cinematography, musical score, and production design, Never Look Away fails to escape the clichés endemic to the biopic. Incredulous plot contrivances drive the narrative... EDIT
Posted Nov 21, 2018
Widows (2018) Danny King A well-rounded entertainment with some points to make along the way, Widows constitutes a frustratingly rare multiplex prospect: a good-time movie from a feel-bad director. EDIT
Posted Nov 15, 2018
Naked (1993) Manohla Dargis An anti-epic -- retrofitted to the consciousness of an antihero raging into the close of a century, the end of the millennium. EDIT
Posted Nov 13, 2018
Maria by Callas: In Her Own Words (2017) Tony Pipolo As Volf's film makes clear, most people saw only the uncompromising diva who had the opera world and high society at her feet, never suspecting that she harbored a secret and endured great loneliness. EDIT
Posted Nov 1, 2018
Suspiria (2018) Melissa Anderson Dull-witted ostentation abounds in Guadagnino's Suspiria... Suspiria 2018 assaults the eye, distresses the ear, and maligns the mind. EDIT
Posted Nov 1, 2018
Burning (2018) Nick Pinkerton The ending is unsatisfying by design, but unsatisfying on another level, too-for here is a wonderfully well-wrought movie that lacks nothing but the essential, nothing but the scorch of flame. EDIT
Posted Oct 26, 2018
Loving (1970) Manny Farber It's curious how the imaginative texture of this conception is stuck to a stiff, unfulfilled script. EDIT
Posted Oct 3, 2018
The Damned (1969) Manny Farber A fascinating film, complexly conceived and composed in chiaroscuro color, melodramatic space, extravagant held-on poses. EDIT
Posted Oct 3, 2018
Balthazar (1966) Manny Farber I think this is a superb movie for its original content, exhilarating editing and Bresson's Puritanistic camera work, belt-high and wonderfully toned, that creates a deep, damp, weathered quality of centuries-old provincialism. EDIT
Posted Oct 3, 2018
Topaz (1969) Manny Farber Pretty good entertainment with a number of standout scenes involving either Roscoe Lee Browne or Michel (always good) Piccoli. EDIT
Posted Oct 3, 2018
Bonnie and Clyde (1967) Manny Farber Faye Dunaway glides, drifts like a vertical sashay. She goes into the movie at one end, comes out the other, leaving a graceful, faint, unengaged wake behind her. EDIT
Posted Oct 3, 2018
The Train (1965) Manny Farber Lancaster half ruins his performance with innocent sincerity, but at that point where the script stops and Lancaster has his task before him, he sinks into it with a dense absorption. EDIT
Posted Oct 3, 2018
Point Blank (1967) Manny Farber Point Blank is an entertaining degenerate movie for its bit players: Michael Strong as a used used-car dealer, Lloyd Bochner and his sharkskin style of elegant menace. EDIT
Posted Oct 3, 2018
Reflections in a Golden Eye (1967) Manny Farber Clawingly bland. EDIT
Posted Oct 3, 2018
How I Won the War (1967) Manny Farber It suggests an overaged boyishness almost incapable of relating to the hard-nosed, dry, sardonic war films supposedly under attack here. EDIT
Posted Oct 3, 2018
Matangi/Maya/M.I.A. (2018) Tausif Noor The film reveals less about the artist-as-activist than the limitations and possibilities of a particular moment and mood. EDIT
Posted Sep 27, 2018
Hale County This Morning, This Evening (2018) Nick Pinkerton In Ross's hands, intimate, human, physically-grounded episodes routinely become passageways opening onto the operations of nature. EDIT
Posted Sep 13, 2018
Crime + Punishment (2018) Lauren O'Neill-Butler The unsurprising, cruel fact that drives the film is that despite the ban on quota-based policing in 2010, the practice goes on under different names. EDIT
Posted Sep 5, 2018
Memoir of War (2017) Zack Hatfield Finkiel honors the laggard, grievous inwardness of Duras's prose, as does Alexis Kavyrchine, who shot the film with a woozy shallow focus and low center of gravity. EDIT
Posted Aug 16, 2018
Chimes at Midnight (1965) Nick Pinkerton Chimes at Midnight reflects the director's proclivity for out-of-step dreamers who prefer their lovely, useless fancies to cold, pragmatic practicalities. EDIT
Posted Aug 14, 2018
Women in Love (1969) Melissa Anderson Yet it is to the film's great credit that, in depicting that "puritanical insistence," heterosexuality is revealed to be the most unnatural form of coupling. EDIT
Posted Aug 14, 2018
Sorry to Bother You (2018) Amy Taubin The movie is a hilariously unhinged satire, without-and this is the extraordinary part-even a hint of didacticism. EDIT
Posted Jul 5, 2018
Filmworker (2017) Tony Pipolo Whatever exaggerations Filmworker may or may not entertain, Vitali exudes throughout this film the same earnest, eccentric devotion and enthusiasm that no doubt cajoled the man he served for decades. EDIT
Posted May 11, 2018
Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2017) Amy Taubin It is also an illuminating if narrowly cast portrait of the formative period in the twenty-seven-year life of an artist who absorbed and synthesized a visionary moment. EDIT
Posted May 9, 2018
Parentés sauvages (2017) Kaelen Wilson-Goldie The subtle, slow-burning intelligence of [Jumana] Manna's film lies in the way she gently holds up the best of these intentions against quiet but forceful evidence that suggests baser motives and more troubling consequences. EDIT
Posted May 2, 2018
Un beau soleil intérieur (2017) Erika Balsom The generosity of this film resides in its knowledge that we are all imperfect, trying to find ways to live less damaged lives, together. EDIT
Posted Apr 25, 2018
Unsane (2018) Amy Taubin Unsane has other things going for it, among them a terrific performance by Claire Foy as Sawyer Valentini... And like the best genre movies, Unsane is topical. EDIT
Posted Apr 4, 2018
Isle of Dogs (2018) Nick Pinkerton His movies have never been quite so piquantly quotable since he lost Owen Wilson as co-writer and collaborator, but Isle of Dogs contains some of the most finely-calibrated sight gags that he's ever set into motion. EDIT
Posted Mar 30, 2018
The Death of Stalin (2017) Howard Hampton Armando Iannucci's The Death of Stalin (2017) comes off like George Orwell's Animal Farm staged as a Comedy Central roast. EDIT
Posted Mar 15, 2018
Europa (1991) Steve Erickson For all its devotion to directorial style, Europa is also impressive for the way it continually juggles narrative threads. EDIT
Posted Mar 8, 2018
My Dear Enemy (2008) Steve Erickson My Dear Enemy often threatens to turn into a conventional romantic comedy, but it ends up flirting with such bromides rather than indulging them. EDIT
Posted Mar 8, 2018
Phantom Thread (2017) Amy Taubin Dazzling performances of Daniel Day-Lewis, Vicky Krieps, and Lesley Manville, EDIT
Posted Jan 3, 2018
Downsizing (2017) Nick Pinkerton [Alexander] Payne and his collaborators have not shrunk from any challenge. EDIT
Posted Dec 20, 2017
The Devil, Probably (1977) Sarah Nicole Prickett The Devil, Probably is a film about the death drive, individual and collective, all the more painful for being so alive to the world. EDIT
Posted Sep 21, 2017
The Sun Behind the Clouds: Tibet's Struggle for Freedom (2010) Sarah Nicole Prickett The degree of access to the Dalai Lama, interviewed at length, might suggest an unquestioning hagiograpy, but the filmmakers are acutely aware of his defining dilemma: the perhaps irreconcilable difficulty of being both a spiritual and a political leader. EDIT
Posted Sep 21, 2017
Alamar (2009) Sarah Nicole Prickett Alamar is, in essence, one sensory high after another: turquoise waters, open skies, reef dives, hammock naps, salt spray, the waves at night. EDIT
Posted Sep 21, 2017
The Hunger Games: Catching Fire (2013) Sarah Nicole Prickett The Hunger Games becomes a sweet Baudrillardian nostalgia trip. It succors me to watch it. To think-the stomping boot of history once had a human face. EDIT
Posted Sep 21, 2017