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Last updated: 08 Sep 2026 at 11:58 UTC

Movie Reviews by Natalia Winkelman - Page 6 of 8

101-120 of 145 Reviews

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Review of Unpregnant (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 10 Sep 2020

Its driving force may seem topical, but the story’s heart is timeless: the harmony between longtime friends, and Veronica and Bailey throw…

Review of Love, Guaranteed (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 03 Sep 2020

Love, Guaranteed, simmering at a low boil, is a short and mostly sweet affair…

Review of Rising Phoenix (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 27 Aug 2020

By avoiding complexity, Rising Phoenix preserves its inspiring mood, but offers only a platform for champions who already dominate the arena…

Review of Chemical Hearts (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 20 Aug 2020

Despite the movie’s sympathy for the high stakes of Henry’s adolescence, the myopia of his point of view settles over “Chemical Hearts”…

Review of Work It (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 07 Aug 2020

Work It is no “Step Up,” but its best sequences involve Jake and Quinn, who share a chemistry in motion that, for a beat or two, conjures…

Review of The Kissing Booth 2 (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 24 Jul 2020

If The Kissing Booth, stacked with regressive relationship dynamics, is Victorian in its views, The Kissing Booth 2 progresses to the midcentury…

Review of Feel the Beat (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 19 Jun 2020

The harmony among the kids, particularly the older girls Kari (Lidya Jewett) and Sarah (Eva Hauge), is the film’s greatest asset, and the…

Review of A Secret Love (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 30 Apr 2020

It is a compliment that A Secret Love, which runs under an hour and a half, could stand to be longer, with an expanded portrait of Terry and…

Review of Rising High (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 23 Apr 2020

Other than its misogyny, the movie, stacked with try-hard hedonism, fails to provoke more than mild annoyance…

Review of The Willoughbys (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 22 Apr 2020

Though it tends to feel disjointed as a whole, The Willoughbys thrives when it embraces its grim plot and lets mischief reign…

Review of The Main Event (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 10 Apr 2020

The Main Event is a light comedy that takes the joys of a real WWE match — the escapism, the performance — and gives them a kid-centric…

Review of Justine (2022)

By Natalia Winkelman (145) for The New York Times (9,847) on 19 Mar 2020

The movie is a tightly observed character study that thins out during more expositional moments, but it’s still a thoughtful tale of loneliness…

Review of Horse Girl (2020)

By Natalia Winkelman (145) for The New York Times (9,847) on 06 Feb 2020

Horse Girl delves into a troubled mind only to get lost among its oddities, forgetting the sensitivity that drew it there in the first place…

Review of Dead Kids (2019)

By Natalia Winkelman (145) for The New York Times (9,847) on 19 Dec 2019

This often compelling window into the boys’ culture is muddied by overly slick stylization…

Review of Little Woods (2019)

By Natalia Winkelman (145) for Film Threat (5,156) on 28 Mar 2019

Affecting, sincere, and most importantly socially astute ... it’s one of the sharpest and most promising first films I’ve seen in some time…

Review of Vox Lux (2018)

By Natalia Winkelman (145) for Los Angeles Review of Books (2) on 14 Jan 2019

It succeeds in spinning an audacious and provocative pop tale, and one that, incidentally, stands in opposition to the mushy earworm of a moral…

Review of Capernaum (2018)

By Natalia Winkelman (145) for The Daily Beast (380) on 05 Jan 2019

Labaki's lens is so patient and empathic, her knack for storytelling so full of soul and temerity, that we're inclined to follow her lead…

Review of The Other Side of the Wind (2018)

By Natalia Winkelman (145) for The Daily Beast (380) on 06 Nov 2018

This opening voiceover and the film's postmortem construction make it, in addition to a final masterwork by a fading mastermind, a complex…

Review of Shirkers (2018)

By Natalia Winkelman (145) for The Daily Beast (380) on 02 Nov 2018

Like Tan's original 1992 script, Shirkers is beautiful, complex, and haunting. It deserves to be seen…

Review of Suspiria (2018)

By Natalia Winkelman (145) for The Daily Beast (380) on 02 Nov 2018

A dark fantasy shimmering with the dusty luster of the past...Suspiria holds a whispered decree: believe women. But also: don't underestimate them…

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