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Adam Nayman

Last updated: 09 Jul 2026 at 12:39 UTC

Movie Reviews by Adam Nayman - Page 3 of 18

41-60 of 350 Reviews

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Review of The Strangers (2011)

By Adam Nayman (350) for The Ringer (285) on 09 Mar 2018

Bertino's directorial smarts are on display from the first slow-cut montage of rural homes glimpsed from the window of a moving car…

Review of The Strangers (1980)

By Adam Nayman (350) for The Ringer (285) on 09 Mar 2018

Bertino's directorial smarts are on display from the first slow-cut montage of rural homes glimpsed from the window of a moving car…

Review of The Strangers (2008)

By Adam Nayman (350) for The Ringer (285) on 09 Mar 2018

Bertino's directorial smarts are on display from the first slow-cut montage of rural homes glimpsed from the window of a moving car…

Review of The Strangers (1998)

By Adam Nayman (350) for The Ringer (285) on 09 Mar 2018

Bertino's directorial smarts are on display from the first slow-cut montage of rural homes glimpsed from the window of a moving car…

Review of The Death of Stalin (2017)

By Adam Nayman (350) for The Ringer (285) on 08 Mar 2018

As long as The Death of Stalin is sticking it to the hypocrites in the Kremlin-mocking their vanity, pride, and other deadly sins-it's got…

Review of Annihilation (2018)

By Adam Nayman (350) for The Ringer (285) on 23 Feb 2018

Garland's Annihilation is disturbing…

Review of Phantom Thread (2017)

By Adam Nayman (350) for Sight and Sound (827) on 01 Feb 2018

Phantom Thread's apparent severity is a brilliant disguise that only really unravels in retrospect: what's underneath is a battle-of-the-sexes…

Review of The Commuter (2018)

By Adam Nayman (350) for The Ringer (285) on 11 Jan 2018

The Commuter's own problems in the home stretch don't damage it too badly, but because Collet-Serra is generally so good at what he does, it's…

Review of The Post (2017)

By Adam Nayman (350) for The Ringer (285) on 26 Dec 2017

This might be the worst thing he's ever filmed…

Review of Downsizing (2017)

By Adam Nayman (350) for The Ringer (285) on 21 Dec 2017

Downsizing's coda has been designed to tell us precisely how and what to feel about what we've seen, and it makes an otherwise admirably sprawling,…

Review of Wonder Wheel (2017)

By Adam Nayman (350) for The Ringer (285) on 01 Dec 2017

This is sophisticated filmmaking, but so what…

Review of Happy End (2017)

By Adam Nayman (350) for Sight and Sound (827) on 30 Nov 2017

Not only is Happy End less imperious and prescriptive than its predecessors, it's also more generous, both to its characters and to the audience…

Review of Roman J. Israel, Esq. (2017)

By Adam Nayman (350) for The Ringer (285) on 22 Nov 2017

What's even harder to take seriously is the film's late shift into genre territory, which includes the most shameless and unnecessary car chase…

Review of Mudbound (2017)

By Adam Nayman (350) for Sight and Sound (827) on 22 Nov 2017

What really lifts the heaviness of Mudbound's story over the top is the excellence of its cast, starting with Mulligan, who plays Laura as…

Review of Good Time (2017)

By Adam Nayman (350) for Sight and Sound (827) on 17 Nov 2017

The masterstroke of the script is how it takes a situation that, in almost any other film of this type, would be played for pathos…

Review of Super Dark Times (2017)

By Adam Nayman (350) for The Ringer (285) on 26 Oct 2017

[Super Dark Times] is an impressive piece of work that deserves to be seen…

Review of Call Me by Your Name (2017)

By Adam Nayman (350) for Reverse Shot (113) on 04 Oct 2017

There's something quite touching about watching Stuhlbarg in Call Me by Your Name eight years after his breakthrough in A Serious Man…

Review of Zama (2017)

By Adam Nayman (350) for Reverse Shot (113) on 28 Sep 2017

Zama takes on a strange and overpowering sense of liberation…

Review of Flatliners (2017)

By Adam Nayman (350) for The Ringer (285) on 28 Sep 2017

Flatliners is a movie made by people who don't respect genre but try to fake it…

Review of Denial (2016)

By Adam Nayman (350) for Cinema Scope (405) on 27 Sep 2017

A movie that stayed rigorously inside its heroine's muzzled sense of frustration could be compelling, but Jackson keeps cutting to superfluous…

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