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Last updated: 26 Jul 2026 at 14:11 UTC

Movie Reviews by Pauline Kael - Page 5 of 19

81-100 of 368 Reviews

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Review of Bambi (1942)

By Pauline Kael (368) for The New Yorker (1,837) on 31 Aug 2012

While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch,…

Review of A Man for All Seasons (1966)

By Pauline Kael (368) for The New Republic (897) on 29 Aug 2012

An agonisingly respectable, sincere film of Robert Bolt's literate play, with Scofield as Sir Thomas More, endorsing the divine right of the…

Review of Chimes at Midnight (1965)

By Pauline Kael (368) for The New Republic (897) on 29 Aug 2012

It takes large latent talent to tell the audience that you know that what you're doing isn't worth doing and still do it better than anyone…

Review of Fahrenheit 451 (1966)

By Pauline Kael (368) for The New Republic (897) on 29 Aug 2012

Even at the science-fiction horror-story level, the movie fails -- partly, I think, because Truffaut is too much of an artist to exploit the…

Review of Absence of Malice (1981)

By Pauline Kael (368) for The New Yorker (1,837) on 18 Aug 2012

The fact is, this movie is really about a woman's spunk and a common man's sneaky revenge. And on that level it's absorbing and entertaining…

Review of Corvette Summer (1978)

By Pauline Kael (368) for The New Yorker (1,837) on 05 May 2012

The central portion of Corvette Summmer, set in Las Vegas with an Alice in Wonderland air, has a visual zaniness that meshes effectively with…

Review of The Informer (1935)

By Pauline Kael (368) for The New Yorker (1,837) on 26 Nov 2011

Heavy-handed, humourless and patronising…

Review of Places in the Heart (1984)

By Pauline Kael (368) for The New Yorker (1,837) on 31 Oct 2011

There's nothing but sheer manipulativeness holding this picture together…

Review of Touch of Evil (1958)

By Pauline Kael (368) for The New Yorker (1,837) on 26 Oct 2011

The great director's masterpiece of bad juju. [Director's Cut]…

Review of The Molly Maguires (1970)

By Pauline Kael (368) for The New Yorker (1,837) on 28 Aug 2011

Realism without much reality, enormous care for the wrong details, historical accuracy and spineless dramaturgy, The Molly Maguires vacillates…

Review of Cocoon (1985)

By Pauline Kael (368) for The New Yorker (1,837) on 04 Jul 2011

The film has something for everyone but, in effect, offers nothing of substance to anyone…

Review of Pride and Prejudice (1940)

By Pauline Kael (368) for The New Yorker (1,837) on 28 Jun 2011

Surprisingly dry and droll. Aldous Huxley's contribution to the script undoubtedly helped, but it is the cast which carries it…

Review of Sweet Charity (1969)

By Pauline Kael (368) for The New Yorker (1,837) on 12 Jun 2011

Sweet Charity, the film adaptation of the Broadway musical, has been so enlarged and so inflated that it has become another maximal movie…

Review of Citizens Band (1977)

By Pauline Kael (368) for The New Yorker (1,837) on 05 Apr 2011

Demme is satirical but never cruel, and sweet but never syrupy: this film marked the emergence of one of the most appealing directorial personalities…

Review of Stand by Me (1986)

By Pauline Kael (368) for The New Yorker (1,837) on 26 Nov 2010

Some of their horsing around, 1950ish style, is comical, but too much of what they do is only too plainly imposed by the movie makers…

Review of The Pope of Greenwich Village (1984)

By Pauline Kael (368) for The New Yorker (1,837) on 12 Dec 2009

Little works in this contrived mess, but by far the worst aspect of it is Roberts' over-the-top histrionics…

Review of Roxanne (1987)

By Pauline Kael (368) for The New Yorker (1,837) on 29 Sep 2009

Aussie director Fred Schepisi, who has elsewhere handled much rougher material, does a professional job of creating a breezy atmosphere, but…

Review of Straight Time (1978)

By Pauline Kael (368) for The New Yorker (1,837) on 29 Sep 2009

Straight Time is a most unlikeable film because Dustin Hoffman, starring as a paroled and longtime criminal, cannot overcome the essentially…

Review of Brewster McCloud (1971)

By Pauline Kael (368) for The New Yorker (1,837) on 30 Jun 2009

Director Altman's work, with its lack of focus and its spontaneous shooting style, can either fascinate or infuriate an audience…

Review of Desperately Seeking Susan (1985)

By Pauline Kael (368) for The New Yorker (1,837) on 03 Mar 2009

Desperately Seeking Susan is just a woman's version of The Woman in Red, where Gene Wilder chased Kelly Le Brock because she was great looking…

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