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
Signs of Life (1968) Manny Farber Very ephemeral in its charms, Signs has some of the casual goodhearted zaniness that Gassman injects into Easy Life: playing up meandering activity over dialogue, getting all the times of day, the feeling of friendship in its inactive-silent aspects. EDIT
Posted Sep 11, 2019
Weekend (1967) Manny Farber The story has charm and piquancy... EDIT
Posted Sep 11, 2019
What You Gonna Do When The World's On Fire? (2018) Nick Pinkerton ...expressly concerned with the relationship between boldness and fear, between self-display and concealment, between the sally and the retreat. EDIT
Posted Aug 19, 2019
One Child Nation (2019) Amy Taubin One Child Nation is both an intimate depiction of life in rural China and a wide-ranging investigation of state coercion and corruption. EDIT
Posted Aug 16, 2019
Honeyland (2019) Amy Taubin I want everyone who is reading this to see Honeyland, one of the greatest and most necessary movies of this terrible year. EDIT
Posted Aug 1, 2019
The Queen (1968) Melissa Anderson [A] riveting chronicle of a 1967 drag competition. EDIT
Posted Jul 11, 2019
Marianne & Leonard: Words of Love (2019) Amy Taubin I'm sure that Cohen fans will find this moving and even revelatory, but I am not a Cohen fan. Indeed, I was only interested in seeing this film because I wanted to see what Broomfield made of him, and I don't think he makes much. EDIT
Posted Jul 11, 2019
Diamantino (2018) Melissa Anderson The sports-celebrity-industrial complex is merely one target of this robust, rollicking satire. EDIT
Posted Jun 26, 2019
() Manny Farber A morbid, flesh-bound, self-reviling vision... EDIT
Posted Jun 19, 2019
The Graduate (1967) Manny Farber All this chopped steak is a give-away on the new tone in films; unless the material is thoroughly banal, it isn't considered chic. EDIT
Posted Jun 19, 2019
In Cold Blood (1967) Manny Farber In Cold Blood is a somber, slablike, all-of-a-piece inclemency that bears little resemblance to the open, cheap-knit style of Capote's writing. EDIT
Posted Jun 19, 2019
Shame (1968) Manny Farber Shame is a complicated, crazily plotted film that loses most of its development... EDIT
Posted Jun 19, 2019
The Exterminating Angel (1962) Manny Farber Very tense, puzzling, sinister, and yet extraordinarily stodgy, this is the least anecdotal Buñuel and the most redolent of the Barrier effect that seems to murmur through his films. EDIT
Posted Jun 19, 2019
Los olvidados (1950) Manny Farber Olvidados, a turgidly heavy tract on hideous childhood, hasn't enough Daliism... EDIT
Posted Jun 19, 2019
Un chien andalou (1929) Manny Farber Buñuel movie has a heady, haunting effect, like an exquisitely enjoyed meal, the weather of a foreign country, something private and inexpressible: EDIT
Posted Jun 19, 2019
My Life to Live (1962) Manny Farber A film of extraordinary purity. EDIT
Posted Jun 18, 2019
Death Is a Woman (1967) Manny Farber A monotonously scratching, capering version of a hack Arthur Freed musical, perhaps the most soporific, conceited, sluggish movie of all time. EDIT
Posted Jun 18, 2019
Les Biches (1968) Manny Farber It's amazing how Raoul Coutard's camera can transform this puerile conceit into a singingly crisp image. EDIT
Posted Jun 18, 2019
Capricious Summer (1968) Manny Farber This rerun of dozed-off acting, Renoir color, and Bergman soupy philosophy winds up with the notion that a circus invariably leaves whistle-stop town sadder and wiser than it was in the first reel. EDIT
Posted Jun 18, 2019
Mouchette (1967) Manny Farber The film has apparently melted down to a short story, being adapted from a Bernanos novel, but it moves on about five levels. EDIT
Posted Jun 18, 2019
Beyond the Law (1968) Manny Farber Mailer's Beyond the Law has a zillion little irritations, but it has authentic scurrility and funk before it goes sour with Mailer's Irish brogue monologue. EDIT
Posted Jun 18, 2019
Lola Montes (1955) Manny Farber A love affair on wheels is a nice idea but this over-decorated vehicle is the hub for eight minor events which are nothing but crazy make-up, improbability, and an ordeal of graceless acting. EDIT
Posted Jun 18, 2019
Bob & Carol & Ted & Alice (1969) Manny Farber This is a very self-contained movie. Charles Lang's hot-hollow camera hawks the bodies and faces as closely as the one in Faces, but the put-down acting at every moment is a half-snobbish Elaine May mimicry of middle-class patois... EDIT
Posted Jun 18, 2019
A Place for Lovers (1969) Manny Farber One of the best laughs is watching Dunaway working on the subject of despair. EDIT
Posted Jun 18, 2019
The Rain People (1969) Manny Farber The Rain People is a fine example of acting and writing that exploits modern dislocation, the mulling, glumness, and revery of people in tight places. EDIT
Posted Jun 18, 2019
Easy Rider (1969) Manny Farber Easy Rider, a sparsely written cross-country movie with a Don Quixote and Sancho Panza on extravagant motorcycles, is marred by draggy, romantic material. EDIT
Posted Jun 18, 2019
The Wild Bunch (1969) Manny Farber There is an unpleasant feeling of expense, of enormous amounts of money being spent, tons of footage being shot in order to get one slow-motion instant that will stamp home Peckinpah's obsessive theme EDIT
Posted Jun 18, 2019
The Detective (1968) Manny Farber There's so much particularity that the film goes from bad to good to smashing and back to good in the briefest quarters. EDIT
Posted Jun 18, 2019
Madigan (1968) Manny Farber The real juice of the films is their ranginess, that they give you a lot, the zest for what a city contains, and the flatness. These movies work partly because they are exploiting the fairly unplumbed field of pessimistic observing rather than action. EDIT
Posted Jun 18, 2019
Pendulum (2002) Manny Farber Playing the characters so hyper-observant, and suggesting through acting that each person is a conflict of pulls in all directions, makes the hollow, TV-styled Pendulum seem almost mobile, and sort of intelligent. EDIT
Posted Jun 18, 2019
Bullitt (1968) Manny Farber Bullitt keeps a shriek ascending through the last reel. EDIT
Posted Jun 18, 2019
Belle de Jour (1967) Manny Farber A singular trait in this coolly deadpan comedy is the sinister equilibrium in the alignment of these figures with their furniture and possessions. EDIT
Posted Jun 17, 2019
Les Carabiniers (1963) Manny Farber Les Carabiniers has a surprisingly wet, fluid mossiness: its people seem beautifully wan, primeval, murky, little woodchucks camouflaged by nature. EDIT
Posted Jun 17, 2019
La Chinoise (1967) Manny Farber What has to be made clear is that this is an infuriating but cagy film. EDIT
Posted Jun 17, 2019
Up the Junction (1968) Manny Farber [It assumes] good acting is the automatic result of a deep, uncritical, tough, saccharine grubbiness. EDIT
Posted Jun 17, 2019
Hour of the Wolf (1968) Manny Farber ...the movie reveals Liv Ullmann as a unique perpetrator of humanistic depth and female presence. EDIT
Posted Jun 17, 2019
Charlie Bubbles (1968) Manny Farber Finney's puritanical, sucked-in ungiving performance, is not so much a man as a particular stage when life has lost its zing and there are no more visible goals on the horizon. EDIT
Posted Jun 17, 2019
The Fox (1968) Manny Farber ...always in a middle area between decorum and sensationalism: a rough-stuff movie dished up in the most insipid, uniform, up-tight manner. The movie has the piddling, top-of-a-cookie-tin look of a painting over a motel bed. EDIT
Posted Jun 17, 2019
China Is Near (1967) Manny Farber Some of it is fun, particularly two lower-class lovers with a cynical snap to them, but most of the time you just sit there and watch. EDIT
Posted Jun 17, 2019
Only Angels Have Wings (1939) Manny Farber A director who's made at least twenty box-office gold mines since 1926 is going to repeat himself, but the fact is that Howard Hawks's films are as different as they're similar. EDIT
Posted Jun 14, 2019
Red River (1948) Manny Farber Red River, as a comment on frontier courage, loyalty, and leadership, is a romantic, simple-minded mush, but an ingeniously lyrical film nonetheless. EDIT
Posted Jun 14, 2019
His Girl Friday (1940) Manny Farber A line is never allowed to reverberate but is quickly attached to another, funnier line in a very underrated comedy that champions the sardonic and quick-witted over the plodding, sober citizens. EDIT
Posted Jun 14, 2019
Scarface (1932) Manny Farber A passionate, strong, archaic photographic miracle: the rise and fall of an ignorant, blustery, pathetically childish punk (Paul Muni) in an avalanche of rich, dark-dark images. EDIT
Posted Jun 14, 2019
Faces (1968) Manny Farber Lynn Carlin is near perfection, playing the deepest well of unexplored emotions as the wife of a rubber-faced business wow who seems like a detestable ham walk-on until he surprisingly lodges into the film's center for good. EDIT
Posted Jun 14, 2019
The Red and the White (1967) Manny Farber A swift, fresh-air war movie... EDIT
Posted Jun 14, 2019
Women in Love (1969) Manny Farber All these people pushing the film in personal ways are really dominated by Lawrence and his apocalyptic vision. So the movie ends up like a gaudy chariot pulled by twelve furious stallions who have been nibbling on locoweed. EDIT
Posted Jun 13, 2019
The End of Summer (1962) Manny Farber "Profound characterization" seems to be a minor concern of the director compared to that of creating a delicately poised domestic panorama and in the process making workable some of the oldest tools in movie construction. EDIT
Posted Jun 13, 2019
Wavelength (1967) Manny Farber Probably the most rigorously composed movie in existence... EDIT
Posted Jun 13, 2019
Two Rode Together (1961) Manny Farber This is studio moviemaking at its slackest. EDIT
Posted Jun 13, 2019
Freedom (2019) Dennis Lim Liberté more than lived up to its title, suggesting that a truly free cinema is one that still believes in the possibility of subversion. EDIT
Posted Jun 3, 2019