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
Tesla (2020) Amy Taubin What's most amazing about Tesla's ensemble cast is that they can define their characters with a few bold strokes, negotiate abruptly shifting styles, and still remain compatible with one another... EDIT
Posted Aug 27, 2020
Coup 53 (2019) Amy Taubin Ten years in the making, Coup 53 is a personal essay, an extraordinarily researched historical document, and a film about the process of its own making. EDIT
Posted Aug 21, 2020
Da 5 Bloods (2020) Amy Taubin Running 156 minutes, Da 5 Bloods is both sprawling and intimate -- a genre movie packed with film references and familiar narrative ploys and twists, and a psychodrama that's both collective and individual. EDIT
Posted Jun 19, 2020
Tommaso (2019) Nick Pinkerton While an uncharitable viewer might fault all of this as so much filler-the random debris of daily life piled up until it achieves feature length-it in fact amounts to a reminder of the cinematic potential of every lived moment. EDIT
Posted Jun 11, 2020
Collective (2019) Amy Taubin Collective gives us a glimpse of the top-the gangster hospital managers and the government functionaries who appointed them, all helping themselves to taxpayer money while providing care that kills. EDIT
Posted May 1, 2020
State Funeral (2019) J. Hoberman As presented, State Funeral conjures a vision of gaslighting on an unimaginable scale-impossible to consign to history's dustbin. EDIT
Posted May 1, 2020
Never Rarely Sometimes Always (2020) Amy Taubin Watch Never Rarely Sometimes Always and then turn your attention to all the Autumns in the real world, endangered now more than ever before. EDIT
Posted Apr 3, 2020
() 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 Mar 17, 2020
The Whistlers (2019) J. Hoberman Heralded by a blast of Iggy Pop's insouciant anthem and nearly three times as expensive as any previous Porumboiu film, The Whistlers suggests an updated, if still scaled down, version of glitzy mid-1960s international caper films... EDIT
Posted Mar 5, 2020
Vitalina Varela (2019) Nick Pinkerton Evident here are several signature elements of Costa's style. He doesn't repeat set-ups. His framings-often lingered in longer than the fairly brisk clip of this sequence suggests-have a staunch and definitive quality... EDIT
Posted Feb 21, 2020
I Wish I Knew (2010) Amy Taubin One of Jia's directorial gifts, as he has proven in his documentary, fiction, and hybrid films, is to capture human beings in all their complexity and mystery no matter how brief their appearance before the camera. EDIT
Posted Jan 24, 2020
The Disappearance of My Mother (2019) Amy Taubin Barzini allows her son to film her even as she tells him that his images are of no value to neither her nor him because rather than aid memory, images destroy it... EDIT
Posted Dec 23, 2019
Uncut Gems (2019) Nick Pinkerton If anything, Ratner appears as a perfect product of assimilation, a pure animal of commerce, monomaniacally focused on winning and living for the Art of the Deal. EDIT
Posted Dec 12, 2019
High Flying Bird (2019) Amy Taubin When screenplays are as psychologically rich and dexterously constructed as McCraney's, you have to think twice about assigning total creative ownership to the films' directors. EDIT
Posted Dec 10, 2019
Atlantics (2019) Amy Taubin It's a lot to handle in a debut feature but thanks to ambition, intelligence, and the desire to relate a story that is seldom told from the inside, [Mati] Diop... pulls it off almost without a hitch. EDIT
Posted Nov 15, 2019
The Lighthouse (2019) Nick Pinkerton An immaculately curated film, but that's not quite the same thing as the inexact science of direction, and the result is a movie too overwrought and worried-over to convey the sense of either loneliness or claustrophobia that it strains toward. EDIT
Posted Oct 18, 2019
Lime Kiln Club Field Day (1913) Melissa Anderson Flickering on a screen a century-plus later, the actors are, at the very least, no longer confined to an even greater ignominy: being forgotten. EDIT
Posted Oct 17, 2019
The Laundromat (2019) Amy Taubin ...a remarkably human, emotionally layered invention of the writer, the director, and the actor who plays the character, Meryl Streep. EDIT
Posted Oct 2, 2019
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
The Young and the Damned (1950) Manny Farber Olvidados, a turgidly heavy tract on hideous childhood, hasn't enough Daliism... EDIT
Posted Jun 19, 2019
An Andalusian Dog (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
Bad Girls (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
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