Movie Reviews Published by New Yorker - Page 18 of 71

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Review of Hacksaw Ridge (2016)

By Anthony Lane (1,079) for New Yorker (1,403) on 31 Oct 2016

The result, though corny at times, treads close to madness and majesty alike, and nobody but Gibson could have made it…

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Review of Harlem Nights (1989)

By Richard Brody (868) for New Yorker (1,403) on 26 Oct 2016

The movie is a whirlingly divergent romp, blending serious violence with outrageous comedy, but it has the feel of oral history, of lives and…

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Review of Jazz on a Summer's Day (1960)

By Richard Brody (868) for New Yorker (1,403) on 26 Oct 2016

Several of the performances are among the treasures of filmed music; all of them, whatever their musical merit, are filmed with a rare artistry,…

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Review of Aquarius (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

Despite Sonia Braga's fierce performance as a woman of unbreakable determination and proud refinement, this drama by the Brazilian director…

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Review of Keeping Up with the Joneses (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

The script sets up the action part of the movie with an interminably laborious and close-fitting literalness that hardly lets any of the actors…

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Review of Christine (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

The narrow scope and narrow determinism of the action in Christine is unfortunately matched by the narrow-albeit immensely skillful and committed-acting…

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Review of Michael Moore in TrumpLand (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

Within the carnivalesque atmosphere and high-spirited revelry of Moore’s show, there’s a master of political rhetoric at work, and he devotes…

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Review of Aquarius (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

Despite Sonia Braga's fierce performance as a woman of unbreakable determination and proud refinement, this drama by the Brazilian director…

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Review of Fire at Sea (2016)

By Richard Brody (868) for New Yorker (1,403) on 23 Oct 2016

Rosi films the migrants empathetically but sentimentally; he depicts helicopters and ships with bombastic grandeur…

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Review of The Rocky Horror Picture Show: Let's Do the Time Warp Again (2016)

By Sarah Larson (4) for New Yorker (1,403) on 20 Oct 2016

Watching the Fox version is a strange experience, because you feel that Ortega both understands this and betrays it, or that [HSM] and its…

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Review of The Accountant (2016)

By Richard Brody (868) for New Yorker (1,403) on 16 Oct 2016

Piles up plotlines like an overbuilt house of cards that comes crashing down at the first well-earned guffaw of ridicule…

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Review of Under the Shadow (2016)

By Anthony Lane (1,079) for New Yorker (1,403) on 09 Oct 2016

Precisely thirty-six times more interesting than “The Girl on the Train.” Where the conceit of that movie feels timid, cooked up, and culturally…

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Review of Little Sister (2016)

By Richard Brody (868) for New Yorker (1,403) on 09 Oct 2016

With its blend of terrifyingly intense family bonds and the howling furies of the world outside, this is a great American political film…

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Review of The Birth of a Nation (2016)

By Richard Brody (868) for New Yorker (1,403) on 09 Oct 2016

A seriously damaged and inadequate movie…

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Review of Certain Women (2016)

By Richard Brody (868) for New Yorker (1,403) on 09 Oct 2016

The three sections of Kelly Reichardt's new film-set in Montana and adapted from stories by Maile Meloy-are consistent in their restrained…

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Review of American Honey (2016)

By Richard Brody (868) for New Yorker (1,403) on 04 Oct 2016

The movie's empathetic power moves backward-it arises in retrospect and in the abstract, checking off its truthful and perceptive list of afflictions…

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Review of Deepwater Horizon (2016)

By Anthony Lane (1,079) for New Yorker (1,403) on 02 Oct 2016

In short, Peter Berg has done it again. You come out shaken with excitement, but with a touch of shame, too, at being so easily thrilled…

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Review of Masterminds (2016)

By Richard Brody (868) for New Yorker (1,403) on 29 Sep 2016

Asides, glances, pauses, silences, double takes, and false starts-Hess catches an extraordinary range of wondrous humanity within the extravagant…

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Review of Snowden (2016)

By Richard Brody (868) for New Yorker (1,403) on 25 Sep 2016

Stone's flashy filmmaking, including grand set pieces in enormous secret facilities, can't conceal his flat, thin, psychology-free depiction…

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Review of Don't Breathe (2016)

By Bruce Diones (105) for New Yorker (1,403) on 25 Sep 2016

The suspense is built as carefully as it is in a good John Carpenter movie; Alvarez uses the camera like a stealth weapon, exploring dark corners…

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