New York Times

Tomatometer-approved publication
Rating Title/Year Author
Bad Times at the El Royale (2018) Manohla Dargis At some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth's admittedly mesmerizing snaky hips. EDIT
Posted Apr 18, 2019
Naples in Veils (2017) Ben Kenigsberg Visually and musically, "Naples in Veils" does little to conjure a sensation of passion or delirium. All that's left, in this case, is a self-nullifying plot. EDIT
Posted Apr 18, 2019
Fast Color (2018) Jeannette Catsoulis Rewarding despite its restraint, the movie has an elasticity that pushes the imagination in any number of directions, offering an expressive allegory for a lineage of powerful black women whose strength, unleashed, could literally shake the earth. EDIT
Posted Apr 18, 2019
Little Woods (2018) Manohla Dargis Tessa Thompson emotionally expands "Little Woods," turning a small movie into something more than its textured parts. EDIT
Posted Apr 18, 2019
Rafiki (2018) Ben Kenigsberg The film is sharp at rendering the hesitancy of their flirtation, as well as the forces - parental expectations, religion, an ever-watchful gossip - arrayed against them. EDIT
Posted Apr 18, 2019
Grass (2018) Glenn Kenny This movie, like most of Hong's others, doesn't pass judgment on its largely passive protagonist. In fact, it suggests that observing the people that pass through one's sight and hearing is an entirely valid mode of living. EDIT
Posted Apr 18, 2019
Instant Dreams (2017) Glenn Kenny Baptist's approach, treating his subjects like characters in a drama, is ultimately frustrating. EDIT
Posted Apr 18, 2019
Stuck (2017) Glenn Kenny After a while, you start wishing you were watching that TV ad with a bunch of people on a bus, singing about how they have a structured settlement but they need cash now. EDIT
Posted Apr 18, 2019
Red Joan (2018) Jeannette Catsoulis What should be breathless and urgent is instead polite and listless: if you can't ignite sparks from an illicit bathroom assignation, then maybe espionage just isn't your thing. EDIT
Posted Apr 18, 2019
Family (2018) Jeannette Catsoulis "Family," Laura Steinel's lightweight first feature, relies on audiences buying into the old chestnut that difficult women would be happier (or just easier to be around) if forced to care for a child. EDIT
Posted Apr 18, 2019
Under the Silver Lake (2018) A.O. Scott "Under the Silver Lake" is less a cinematic folly than a category mistake, taking the sterility of its own imaginative conceits for a metaphysical condition. EDIT
Posted Apr 17, 2019
Homecoming: A Film by Beyoncé (2019) Aisha Harris She may not be headlining this year, but we're all going to pay attention and bow down anyway. EDIT
Posted Apr 17, 2019
Custody (2017) A.O. Scott Mr. Legrand is skilled in the techniques of dread and suspense, and without sensationalizing or cheapening the story, he gives this closely observed drama the tension and urgency of a thriller. EDIT
Posted Apr 17, 2019
Hail Satan? (2019) Ben Kenigsberg [A] wry and illuminating documentary... EDIT
Posted Apr 16, 2019
Penguins (2019) Teo Bugbee Nature's complexities are reduced here to dull clichés. EDIT
Posted Apr 16, 2019
The Lost Prince (2003) Virginia Heffernan The movie is a little boring. Jacques Derrida, you are already missed. EDIT
Posted Apr 15, 2019
Breakthrough (2019) Bilge Ebiri You don't have to believe in divine intervention to be moved by this story. EDIT
Posted Apr 15, 2019
Oranges Are Not the Only Fruit (1989) John J. O'Connor "Oranges Are Not the Only Fruit" is anything but silly. It's a fresh, challenging and memorable little movie. Parental -- and all other -- attention is advised. EDIT
Posted Apr 15, 2019
() Jason Bailey It feels very much like a movie a bunch of friends thought up late one night, perhaps while sharing a blunt, as a party was winding down. This is meant as a compliment. EDIT
Posted Apr 13, 2019
The Silence (2019) Scott Tobias There may come a time when the Netflix algorithm grows sophisticated enough to cut out the middle man and write its own scripts, but until that day arrives, niche-targeted dreck like "The Silence" will have to suffice. EDIT
Posted Apr 12, 2019
Dogman (2018) Manohla Dargis Garrone is a virtuoso of pain and terror, which can be overwhelming, despite the flourishes of comedy. EDIT
Posted Apr 11, 2019
Long Day's Journey Into Night (2018) Glenn Kenny Very often, and particularly in its second half, watching it feels like dreaming with your eyes open. EDIT
Posted Apr 11, 2019
Mary Magdalene (2018) Glenn Kenny "Mary Magdalene" dutifully telegraphs the nobility and compassion of its title character while remaining noncommittal about everything else in its path. EDIT
Posted Apr 11, 2019
The Most Dangerous Year (2018) Ben Kenigsberg It is primarily an informational documentary, not a film with artistic pretensions. But it makes its case effectively. EDIT
Posted Apr 11, 2019
Wild Nights With Emily (2018) Teo Bugbee This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary. EDIT
Posted Apr 11, 2019
Satan & Adam (2018) Ken Jaworowski The blues seep into every scene of "Satan & Adam," a gritty yet lovely documentary. And even after the songs stop, the music's bittersweet emotions linger. EDIT
Posted Apr 11, 2019
Teen Spirit (2018) Jeannette Catsoulis "Teen Spirit," Max Minghella's sweet and touching directing debut, is both proudly clichéd and refreshingly different. EDIT
Posted Apr 11, 2019
Missing Link (2019) Ben Kenigsberg What's missing from the movie, for all its technical skill, is simply inspiration - that extra touch of wit or imagination that might elevate it from a pleasant diversion to a rare sighting. EDIT
Posted Apr 11, 2019
Master Z: Ip Man Legacy (2018) Glenn Kenny "Master Z" does a lot of things you hope it will - mainly in serving up inventive fight sequences. EDIT
Posted Apr 11, 2019
Girls of the Sun (2018) Jeannette Catsoulis "Girls of the Sun," unlike the women who populate it, is weak and often corny. EDIT
Posted Apr 11, 2019
Hellboy (2019) Jeannette Catsoulis "The end is coming," Hellboy's dying friend says near the beginning, and I was already thinking, "Oh yes, please." EDIT
Posted Apr 11, 2019
Stockholm (2018) Manohla Dargis Drowsy in feel and muted in color, "Stockholm" is lightly amusing and watchable - mostly thanks to Hawke - but never makes the case that this is a story that needed to be told, with or without laughs. EDIT
Posted Apr 10, 2019
Little (2019) A.O. Scott If the story is a mess, the performers... save the day and the protect the investment. EDIT
Posted Apr 10, 2019
Her Smell (2018) A.O. Scott Moss varies the volume and the tempo of her performance, calling forth cascades of profane invention and rills of whispery poetry, but she always stays in the same key, the key of Becky. EDIT
Posted Apr 10, 2019
Sauvage (2018) Ben Kenigsberg It's tough to build a character study around an unconvincing character. EDIT
Posted Apr 9, 2019
When Were You Born? (1938) Frank S. Nugent It consists merely of using a routine murder mystery as a pretext for expounding the zodiacal rigmarole. EDIT
Posted Apr 5, 2019
The Unicorn Store (2017) Scott Tobias In fact, "Unicorn Store" becomes an argument for itself: If such a tacky fantasy can get produced, then clearly it's a viable enterprise for grown-ups. EDIT
Posted Apr 5, 2019
High Life (2018) Manohla Dargis Too often the ideas here, visual and otherwise, feel haphazard - outer and inner space, Pattinson's head, sexual taboo, apocalypse now or maybe then - more like material for a vision board than a fully realized vision. EDIT
Posted Apr 4, 2019
Peterloo (2018) A.O. Scott [A] brilliant and demanding film... EDIT
Posted Apr 4, 2019
The Fate of Lee Khan (1974) Glenn Kenny Once the players are established, the movie falls into a sweet lather, rinse, repeat mode of scenes, alternating character intrigue and fighting. EDIT
Posted Apr 4, 2019
The Public (2018) Ben Kenigsberg Estevez does an elegant job with this setup, creating a low-key, uncondescending portrait of lives on the edge. EDIT
Posted Apr 4, 2019
Blowin' Up (2018) Jeannette Catsoulis Discreetly eavesdropping on counseling sessions as clients divulge often heartbreaking personal details, the filmmakers eschew narration in favor of a more fragmented, naturalistic approach. EDIT
Posted Apr 4, 2019
The Wind (2018) Jeannette Catsoulis This pioneer chiller shines a gender-specific spotlight on the ways isolation and hardship can ravage a woman's mind. EDIT
Posted Apr 4, 2019
Reinventing Rosalee (2018) Ken Jaworowski Clunky narration and badly edited stock footage do little to illuminate Rosalee's times or support her memories. EDIT
Posted Apr 4, 2019
Jiao qu de niao (2018) Glenn Kenny Qiu shows remarkable facility as he patiently adds layer upon layer to a mystery that wants to stay one. EDIT
Posted Apr 4, 2019
Storm Boy (2019) Teo Bugbee The ham-fisted dialogue saps the energy from the images, drawing attention to the thinness of archetypal characters. And the centrality of white characters who learn from a noble native undermines the film's attempts at political relevance. EDIT
Posted Apr 4, 2019
Pet Sematary (2019) Glenn Kenny When [the directors] settle into a groove that aligns with the novel's, the movie delivers great unsettling jolts that approximate the power of King's vision. EDIT
Posted Apr 4, 2019
Shazam! (2019) Manohla Dargis Once Billy says that magic word and his supersized alter ego appears, the movie goes to its happy place and comfortably embraces its own identity as a light, jocular, modest entertainment. EDIT
Posted Apr 3, 2019
The Best of Enemies (2019) A.O. Scott The political moral of the movie is that change happens when the oppressed are nice to their oppressors. EDIT
Posted Apr 3, 2019
Limehouse Blues (1934) Andre Sennwald Even those filmgoers who are most successful in fighting off Mr. Raft's overpowering personal allure can hardly blame him for the frailties of Limehouse Blues. EDIT
Posted Apr 3, 2019