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Last updated: 26 Jul 2026 at 15:01 UTC

Movie Reviews by Pauline Kael - Page 18 of 19

341-360 of 368 Reviews

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Review of Jules and Jim (1962)

By Pauline Kael (368) for The New Yorker (1,837) on 31 Dec 1967

The film introduced a crucial theme that was to run right through Truffaut's work: how we cope with death and how we preserve our memories…

Review of Brief Encounter (1945)

By Pauline Kael (368) for The New Yorker (1,837) on 08 Nov 1967

Beautifully monochrome rendering of a love that cannot be…

Review of Ride the High Country (1962)

By Pauline Kael (368) for The New Yorker (1,837) on 13 Oct 1966

Take two cornbelt veterans like Mr. McCrea and Mr. Scott, give them a taut, tangy script (by N. B…

Review of Calamity Jane (1953)

By Pauline Kael (368) for The New Yorker (1,837) on 30 Apr 1966

An elaboration of the concept of Annie Get Your Gun—not to mention Doris Day’s tomboy image in On Moonlight Bay—this 1953 western musical…

Review of How Green Was My Valley (1941)

By Pauline Kael (368) for The New Yorker (1,837) on 20 Oct 1965

The acting is strong (especially that of 13-year-old Roddy McDowall as the youngest son and Maureen O’Hara as the lovelorn daughter), and…

Review of Hamlet (1948)

By Pauline Kael (368) for The New Yorker (1,837) on 30 May 1965

Laurence Olivier's famous 1948 interpretation of Shakespeare's play suffers slightly from his pop-Freud approach to the character and from…

Review of Desire (1936)

By Pauline Kael (368) for The New Yorker (1,837) on 27 Mar 1965

You will not, in Desire, find a great story, but you will discover one that has been splendidly told…

Review of The Harvey Girls (1946)

By Pauline Kael (368) for The New Yorker (1,837) on 23 Jul 1964

A likeable but aimless musical which doesn't know what to make of its plot (designed to cash in on the pioneer spirit of Oklahoma) about the…

Review of The Miracle Worker (1962)

By Pauline Kael (368) for The New Yorker (1,837) on 10 Dec 1963

Where the picture really excels, outside of its inherent story values, is in the realm of photographic technique…

Review of The Man with the Golden Arm (1955)

By Pauline Kael (368) for The New Yorker (1,837) on 26 Jun 1963

The tension is intriguing and expressive (perhaps this is what Beineix had in mind for The Moon in the Gutter), though the unstable mixture…

Review of Paths of Glory (1957)

By Pauline Kael (368) for The New Yorker (1,837) on 08 Oct 1962

Paths of Glory may be first-rate humanity, but it’s also second-rate art…

Review of Carmen Jones (1954)

By Pauline Kael (368) for The New Yorker (1,837) on 11 Apr 1961

The somewhat heavy-handed direction and the ultimately two-dimensional characters leave you admiring the workmanship without plucking at the…

Review of True Confession (1937)

By Pauline Kael (368) for The New Yorker (1,837) on 21 Mar 1961

Carole Lombard's final film for Paramount was a charming screwball comedy that was entertaining, if lightweight…

Review of The Postman Always Rings Twice (1946)

By Pauline Kael (368) for The New Yorker (1,837) on 24 Apr 1960

This has little of the insinuating nature of the best film noir, as Lana Turner and John Garfield go from 0 to 60 in their first scene together…

Review of The Philadelphia Story (1940)

By Pauline Kael (368) for The New Yorker (1,837) on 14 Mar 1960

Excellent casting, a great storyline and a shrp script mean that this remains a classic of the genre and one of Katherine Hepburn's best roles…

Review of A Star Is Born (1954)

By Pauline Kael (368) for The New Yorker (1,837) on 06 Mar 1958

Despite A Star Is Born’s musty jabs at movieland decadence in the wake of satires like Sunset Blvd…

Review of A Place in the Sun (1951)

By Pauline Kael (368) for The New Yorker (1,837) on 01 Jan 1958

The chemistry between Clift and Taylor is unmistakeable – this is one of the great cinematic portraits of untamed desire – and there’s…

Review of Flying Down to Rio (1933)

By Pauline Kael (368) for The New Yorker (1,837) on 10 Aug 1955

Although the lead trio does well enough, the presence of cinema's greatest musical comedy team fairly blasts the screen lovers into orbit whenever…

Review of The Treasure of the Sierra Madre (1948)

By Pauline Kael (368) for The New Yorker (1,837) on 02 Nov 1953

The Treasure of the Sierra Madre is as enduring a classic as has ever come out of Hollywood, and arguably among the greatest, but the film…

Review of Phantom of the Opera (1943)

By Pauline Kael (368) for The New Yorker (1,837) on 13 Dec 1952

The accent is more on musical extravaganza than horror, with endless operatic snippets for Eddy and Foster to warble, making it all a somewhat…

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