Starman (1984)
84%
“The scenes are deliberately muted, and most of the gag lines are softened.” –
The New Yorker
May 13, 2025
Full Review
2001: A Space Odyssey (1968)
90%
“It's a bad, bad sign when a movie director begins to think of himself a myth-maker, and this limp myth of a grand plan that justifies slaughter and ends with resurrection has been around before. ” –
The New Yorker
Apr 9, 2025
Full Review
The Conversation (1974)
94%
“The Conversation is driven by an inner logic. It's a little thin, because the logic is the working out of one character's obsession, but it's a buggy movie that can get to you so that when it's over you really feel you're being bugged.” –
The New Yorker
Sep 24, 2024
Full Review
The Mad Miss Manton (1938)
84%
“This is the kind of movie that helped kill the screwball genre.” –
The New Yorker
Apr 17, 2024
Full Review
White Heat (1949)
94%
“It's so primitive and outrageous in its flamboyance that it seems to have been made much earlier than it was. But this flamboyance is also what makes some of its scenes stay with you.” –
The New Yorker
Apr 15, 2024
Full Review
Dog Day Afternoon (1975)
96%
“One of the best "New York" movies ever made.” –
The New Yorker
Apr 7, 2024
Full Review
Sabrina (1954)
89%
“Audrey Hepburn is forced to overdo her gamine charm in this horrible concoction about a Cinderella among the Long Island rich.” –
The New Yorker
Mar 28, 2024
Full Review
The Searchers (1956)
87%
“You can read a lot into it, but it isn't very enjoyable. The lines are often awkward and the line readings worse, and the film is often static, despite economic, quick editing.” –
The New Yorker
Mar 22, 2024
Full Review
National Velvet (1944)
98%
“One of the most likable movies of all time.” –
The New Yorker
Mar 22, 2024
Full Review
Chinatown (1974)
98%
“The film holds you, in a suffocating way. Polanski never lets the story tell itself. It's all over-deliberate, mauve, nightmarish; everyone is yellow-lacquered, and evil runs rampant. You don't care who is hurt, since everything is blighted.” –
The New Yorker
Mar 8, 2024
Full Review
Dune (1984)
36%
“The movie is heavy on exposition, and the story isn't dramatized -- it's merely acted out, in a series of scenes that are like illustrations. ” –
The New Yorker
Feb 14, 2024
Full Review
Lions Love (1969)
54%
“Lions Love has a graceful surface, but it lacks a sense of the fitness of things -- and I don’t mean empty proprieties but true sensibility.” –
The New Yorker
Feb 5, 2024
Full Review
The Madwoman of Chaillot (1969)
11%
“Edward Anhalt’s script is leaden-hearted; Jean Giraudoux’s fragile play is doubtful screen material at best, and Anhalt’s updating and message-mongering destroyed at the outset whatever chance it might have had.” –
The New Yorker
Feb 5, 2024
Full Review
The Royal Hunt of the Sun (1969)
50%
“ This adaptation of Peter Shaffer’s play treats it like Shakespeare: people stand on rocks and make speeches. The script, officially blamed on Philip Yordan, has lines that a first-year screenwriting student should know enough to cross out.” –
The New Yorker
Feb 5, 2024
Full Review
High School (1969)
100%
“High School is so familiar and so extraordinarily evocative that a feeling of empathy with the students floods over us.” –
The New Yorker
Feb 5, 2024
Full Review
De Sade (1969)
10%
“This porny swashbuckler has been staged like a high-school pageant, and it doesn’t have a spark of real perversity, yet it dabbles in dangerous areas.” –
The New Yorker
Feb 5, 2024
Full Review
A Walk With Love and Death (1969)
- -
“A Walk With Love and Death has a feeling to it, and though it doesn’t quite come to enough, it has an unusual integrity of vision.” –
The New Yorker
Feb 5, 2024
Full Review
Oh! What a Lovely War (1969)
75%
“Oh! What a Lovely War repeats the satirical forms already exhausted in Richard Lester's How I Won the War and Tony Richardson's The Charge of the Light Brigade.” –
The New Yorker
Feb 5, 2024
Full Review
Butch Cassidy and the Sundance Kid (1969)
89%
“After a few minutes of Butch Cassidy and the Sundance Kid, I began to get that depressed feeling, and, after a half hour, felt rather offended.” –
The New Yorker
Feb 5, 2024
Full Review
The Rules of the Game (1939)
97%
“Jean Renoir’s The Rules of the Game is a love roundelay that accelerates and intensifies until it becomes a rare mingling of lyric poetry and macabre farce.” –
The New Yorker
Feb 5, 2024
Full Review
Intolerance (1916)
98%
“The movie is the greatest extravaganza and the greatest folly in movie history, an epic celebration of the potentialities of the new medium -- lyrical, passionate, and grandiose.” –
The New Yorker
Feb 5, 2024
Full Review
The Late Show (1977)
95%
“The Late Show is fast and exciting, but it isn't a thriller, exactly. It's a one of a kind movie -- a love hate poem to sleaziness. ” –
The New Yorker
Jan 23, 2024
Full Review
Providence (1977)
73%
“In Providence, the track and the images operate in two different realms, leaving a dead space between.” –
The New Yorker
Jan 23, 2024
Full Review
The Enforcer (1976)
69%
“... Magnum Force, was poorly made but did have some cheap nastiness; the third in the series, the new. The Enforcer, doesn't have the savvy to be sadistic. It's just limp.” –
The New Yorker
Jan 23, 2024
Full Review
Harlan County, U.S.A. (1976)
100%
“Barbara Kopple isn't a great documentarian, but she has a great subject in Harlan County, U.S.A, and she has the taste and sensitivity not to betray it. ” –
The New Yorker
Jan 23, 2024
Full Review
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