The New Republic

Tomatometer-approved publication
Rating Title/Year Author
Us (2019) Josephine Livingstone Us is an uncanny movie, and an implicit riposte to the questions Peele himself asked in Get Out. What if there's no easy ending? What if the real struggle takes place within? EDIT
Posted Mar 22, 2019
The Eyes of Orson Welles (2018) Noah Isenberg There's something vaguely mournful, if not altogether sentimental, about Mark Cousins's new documentary The Eyes of Orson Welles, a two-hour love letter to the legendary director. EDIT
Posted Mar 19, 2019
Francois Truffaut: Stolen Portraits (1993) Stanley Kauffmann Beyond fact and flavor, the film captures another element: a sense of the community of the so-called New Wave... EDIT
Posted Feb 20, 2019
Forrest Gump (1994) Stanley Kauffmann I can't see how people with low I.Q.s or those who love them are in any way comforted by all this hogwash. I can easily see how such people might be offended by its smug unreality. EDIT
Posted Feb 20, 2019
Velvet Buzzsaw (2019) Josephine Livingstone It comes within an inch of a really snappy disquisition (to use Morf's word) on the painting marketplace, but to avoid disappointment it's better approached as a gory romp. EDIT
Posted Feb 14, 2019
Everybody Knows (2018) Lidija Haas The exception is in the performances: The collaboration between Cruz and Bardem is the film's greatest strength. EDIT
Posted Feb 5, 2019
Serenity (2019) Josephine Livingstone If you like seeing authentically unusual movies, then ignore the haters: In its fusion of disparate genres, its sentimentality, and its weirdness, Serenity is actually worth watching. EDIT
Posted Jan 31, 2019
Fyre (2019) Josephine Livingstone Fyre shoots its talking heads straight on, à la Wild, Wild Country, which looks modern. EDIT
Posted Jan 16, 2019
Fyre Fraud (2019) Josephine Livingstone It does a [great] job pointing out the secret villain of this story all along: the subtle menace of social media marketing. EDIT
Posted Jan 16, 2019
Beautiful Boy (2018) Josephine Livingstone Homelessness isn't Timothée Chalamet draped handsomely across a diner; it's contemptuous glances and shame. EDIT
Posted Dec 19, 2018
Ben Is Back (2018) Josephine Livingstone The movie's real achievement lies in Roberts's performance, which is possibly her best. Holly is incandescent with worry. She's good and kind and intimate. EDIT
Posted Dec 19, 2018
Mary Poppins Returns (2018) Rachel Vorona Cote [Mary Poppins] is incandescent. EDIT
Posted Dec 19, 2018
Mary Queen of Scots (2018) Josephine Livingstone In Mary Queen of Scots, we don't see a reckoning with the future of a country united across the Scottish-English border. We see queens cry and fret about their hair. EDIT
Posted Dec 12, 2018
Never Look Away (2018) Anna Altman [It's] eager to make grand statements rather than to find poignancy and authenticity in one story. And yet, Donnersmarck touches on something elemental about how biography, inspiration, and history can combine to create something of lasting value. EDIT
Posted Dec 4, 2018
Widows (2018) Josephine Livingstone It's the dashing camerawork and broad historical awareness of Widows that makes it a truly sophisticated action film, and by far the best crime movie of 2018 so far. EDIT
Posted Nov 30, 2018
If Beale Street Could Talk (2018) Mychal Denzel Smith Something else guides Jenkins, generally and more acutely with Beale Street: He provides space for his character's flaws while never allowing those flaws to define them. EDIT
Posted Nov 28, 2018
The Favourite (2018) Josephine Livingstone Bathed in a score of Vivaldi, Bach, and Purcell, it's Lanthimos's most watchable movie to date, and also his best. The Favourite is a triumph in textures, a beam of light through a window. EDIT
Posted Nov 21, 2018
The Ballad of Buster Scruggs (2018) Josephine Livingstone The Ballad of Buster Scruggs is one of the strangest and least legible of the Coen brothers' films, but it also revels in their sheer joy in creating movies. EDIT
Posted Nov 15, 2018
A Private War (2018) Josephine Livingstone Despite the undeniably extraordinary feats that Colvin achieved in life and on the edge of death, A Private War is a hagiography that reduces a complicated woman down to trauma, booze, and typing. EDIT
Posted Nov 12, 2018
Halloween (2018) Josephine Livingstone A brutal rumination on intergenerational pain, and the ways that male cruelty can make good women bad. EDIT
Posted Oct 31, 2018
Mandy (2018) Josephine Livingstone It's bloody, it's nasty, and it burns. EDIT
Posted Oct 15, 2018
22 July (2018) Josephine Livingstone The film is about atmosphere and anger, and Greengrass achieves that effect through tight focus on individuals. But the result is imperfect, because it elides crucial elements of the whole story. EDIT
Posted Oct 11, 2018
A Star Is Born (2018) Josephine Livingstone It's the love story for our time. It's an instant cult classic. It's everything a tasteful move should not be, and yet it's an undeniable success. EDIT
Posted Oct 5, 2018
Free Solo (2018) Josephine Livingstone The classic tension between the sublime and the human spirit breaks down. Man, rock, camera: they're old suspects, but here they seem made anew. EDIT
Posted Sep 26, 2018
A Simple Favor (2018) Josephine Livingstone A deeply confused movie that feels like a mash-up of Mean Girls and an episode of Law and Order. EDIT
Posted Sep 24, 2018
The Wife (2017) Daphne Merkin The Wife is that increasingly rare offering, a commercially viable film that also makes you rethink your assumptions about talent and who gets to wield it. EDIT
Posted Sep 10, 2018
Crime + Punishment (2018) Josephine Livingstone If the movie has a still point inside it-an unassailable conclusion-it's that justice and the law are not the same thing. EDIT
Posted Aug 30, 2018
Men, Women & Children (2014) Teo Bugbee Men, Women, & Children curates the world of technology into a tiny sliver of only the most outlandishly evil elements, and pretends that perspective is reason for despair. EDIT
Posted Aug 24, 2018
To All the Boys I've Loved Before (2018) Rachel Syme Centineo performs a type of compassionate male energy that is in short supply in movies at the moment, but Lana Condor is undeniably TATBILB's star. EDIT
Posted Aug 24, 2018
Mission: Impossible -- Fallout (2018) Josephine Livingstone The sixth movie in the Mission: Impossible series is a truly maximalist work of art. The plot is stupid but the stunts are terrifying, the tension vibratory, the muscles rippling. In short, it's a masterpiece. EDIT
Posted Jul 27, 2018
Three Identical Strangers (2018) Josephine Livingstone A lot is kept from the viewer, then parceled out in discrete chunks. The effect is of one of those long New Yorker-style pieces that blend storytelling with feats of reporting-the elaborate set-up that is a feint, to be dispelled in an act of revelation. EDIT
Posted Jul 5, 2018
Hannah Gadsby: Nanette (2018) Rachel Syme In Nanette we witness the shock of the new, a voice that dares to speak to this frustrating and often hideous cultural moment, a comedian willing to drop the act. I would call Gadsby a genius, but she would likely push back against that term. EDIT
Posted Jul 3, 2018
Sorry to Bother You (2018) Josephine Livingstone Both Riley and Get Out's Jordan Peele have recreated our world but cracked through with a surreal seam that makes its hidden evils unmissable. EDIT
Posted Jun 29, 2018
Too Big to Fail (2011) David Thomson Just a dramatized synopsis in which some noble cynics guard our citadel. It is hardboiled-instead of admitting that the egg just exploded. EDIT
Posted Jun 25, 2018
Jurassic World: Fallen Kingdom (2018) Josephine Livingstone Although each Jurassic movie is fated to essentially repeat the same idea-oh no, dinosaurs!-this new era has come up with ways to surprise, terrify, and inspire, which is enough to keep the heart of the franchise beating. EDIT
Posted Jun 22, 2018
Incredibles 2 (2018) Josephine Livingstone The Incredibles 2 is an undeniable triumph, but it is also so keenly aware that it becomes exhausting. EDIT
Posted Jun 19, 2018
Ocean's 8 (2018) Josephine Livingstone Although this movie is fun, the subtraction of rivalry makes for a movie that is inevitably less riveting. EDIT
Posted Jun 12, 2018
The Tale (2018) Josephine Livingstone The Tale excels in these absurdist meta-moments, such as the scenes in which Dern and Nélisse meet up across time to deconstruct events as they happen. EDIT
Posted Jun 1, 2018
Mary Shelley (2017) Josephine Livingstone Elle Fanning as Mary Shelley is the movie's only real grace. She has been given a poor script to inhabit. EDIT
Posted May 23, 2018
On Chesil Beach (2017) Josephine Livingstone With such confident performers and such a strong interest in their characters' personalities, Dominic Cooke has made surprisingly good work of On Chesil Beach. You couldn't pay me to sit through it again, but that's Ian McEwan's fault. EDIT
Posted May 17, 2018
Disobedience (2017) Josephine Livingstone [Rachel] McAdams feels like an uncanny piece of casting, at least to me, who grew up nearby, though secular, in North London. EDIT
Posted Apr 30, 2018
I Feel Pretty (2018) Josephine Livingstone In what should have been a major breakthrough for this comedian, I Feel Pretty instead becomes a good idea totally hamstrung, gutted, eviscerated by poor writing. EDIT
Posted Apr 20, 2018
I Am Evidence (2017) Sarah Marshall By producing and appearing in I Am Evidence, Mariska Hargitay is offering her own hand to viewers, and accompanying them into a world that might otherwise be too awful to countenance. EDIT
Posted Apr 18, 2018
A Quiet Place (2018) Josephine Livingstone This is a movie about the sound of fear, but it gives us a great deal more to listen to. EDIT
Posted Apr 11, 2018
Tomb Raider (2018) Josephine Livingstone I longed for [Daniel] Wu to return to the screen whenever he left it. EDIT
Posted Mar 20, 2018
A Wrinkle in Time (2018) Josephine Livingstone But this movie relied so heavily on the glinting plastic toolbox of CGI that the magic just never arrived. The kid in me left the theater sadly disappointed. EDIT
Posted Mar 8, 2018
Red Sparrow (2018) Josephine Livingstone We remain in suspense. We don't know who is hiding what from whom. The emphasis on styling reinforces this dynamic, but it also inevitably takes away from the kind of characterization that marks an actually good spy movie. EDIT
Posted Mar 6, 2018
The Young Karl Marx (2017) Josephine Livingstone With the sensibility of a very boring Downton Abbey and a political consciousness to match, The Young Marx is an insipid disaster. EDIT
Posted Mar 2, 2018
Annihilation (2018) Josephine Livingstone Annihilation's commitment to older psychoanalytic (and deconstructionist) models for the self and its inexpressible shadows makes this a readily accessible drama of emotion. EDIT
Posted Feb 27, 2018
The 15:17 to Paris (2018) Josephine Livingstone They're all handsome but just appalling actors. This disjuncture is impossible to forget while watching the film, and it's very uncomfortable. EDIT
Posted Feb 14, 2018