Movie Reviews Published by The New York Times - Page 18 of 493

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Review of Devotion (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 02 Dec 2022

As an intellectual dismantling of white savior narratives, Devotion is smartly done; as an enjoyable heartwarmer to watch with your uncle,…

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Review of Emancipation (2022)

By Manohla Dargis (1,909) for The New York Times (9,847) on 02 Dec 2022

Part of this movie’s power comes from its insistence that you look at the near-unbearable, that you confront slavery as a crime against humanity…

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Review of Diary of a Wimpy Kid: Rodrick Rules (2022)

By Calum Marsh (242) for The New York Times (9,847) on 02 Dec 2022

It’s the sort of bland, innocuous trifle that will swiftly recede into the oblivion of a streaming service menu — a comedy without laughs…

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Review of Spoiler Alert (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 02 Dec 2022

The film is strongest when it falls silent, allowing the actors to communicate their thoughts with a look…

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Review of Return to Seoul (2022)

By Amy Nicholson (961) for The New York Times (9,847) on 01 Dec 2022

Return to Seoul is a startling and uneasy wonder, a film that feels like a beautiful sketch of a tornado headed directly toward your house…

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Review of Darby and the Dead (2022)

By Natalia Winkelman (145) for The New York Times (9,847) on 01 Dec 2022

As familiar as this tale of female transformation feels, there is an authentic sweetness to Darby and Capri’s fledgling friendship…

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Review of Scrooge: A Christmas Carol (2022)

By Lisa Kennedy (833) for The New York Times (9,847) on 01 Dec 2022

This update has its moments of aplomb, but too many of Dickens’s most incisive lines are no more, which invites the not entirely charitable,…

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Review of Four Samosas (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 01 Dec 2022

Unlike so many new movies that seem to be algorithmically manufactured to appeal to diverse audiences and tick the boxes of representation,…

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Review of 2nd Chance (2022)

By Nicolas Rapold (488) for The New York Times (9,847) on 01 Dec 2022

Bahrani’s film (which he narrates) beetles along without fully exploiting Davis’s ample entertainment value, which is counterbalanced by…

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Review of Lady Chatterley's Lover (2022)

By A.o. Scott (2,100) for The New York Times (9,847) on 01 Dec 2022

Magee and Clermont-Tonnerre’s adaptation emphasizes the romance of Lawrence’s book over the radicalism of his vision…

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Review of Violent Night (2022)

By Elisabeth Vincentelli (44) for The New York Times (9,847) on 01 Dec 2022

Adding insult to bodily injury, the director, Tommy Wirkola (“The Trip,” “Dead Snow”), and the screenwriters, Pat Casey and Josh Miller,…

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Review of The Noel Diary (2022)

By Lisa Kennedy (833) for The New York Times (9,847) on 29 Nov 2022

The director Charles Shyer brings a journeyman’s ease to the screenplay (based on Richard Paul Evans’s novel by the same name): embracing…

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Review of The Corridors of Power (2022)

By Nicolas Rapold (488) for The New York Times (9,847) on 23 Nov 2022

As edited, Moreh’s interviews prize policy analysis and haunting candor over gotcha moments or grandstanding…

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Review of Leonor Will Never Die (2022)

By Jeannette Catsoulis (1,537) for The New York Times (9,847) on 23 Nov 2022

The effect is by turns comical, maddening and endearing as Escobar reaches for more ambitious ideas about the political appeal of the authoritarian…

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Review of The Sound of Christmas (2022)

By Concepción De León (22) for The New York Times (9,847) on 23 Nov 2022

The relationship between Montana and the kids is a highlight, as are some of the other secondary relationships…

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Review of White Noise (2022)

By A.o. Scott (2,100) for The New York Times (9,847) on 23 Nov 2022

There is something detached about the film, a succession of moods and notions that are often quite interesting but that never entirely cohere…

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Review of Strange World (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 23 Nov 2022

The takeaway is the difficulty of collaboration in the face of entrenched beliefs and ways of navigating the world that, ultimately, must be…

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Review of Nanny (2022)

By Manohla Dargis (1,909) for The New York Times (9,847) on 23 Nov 2022

Jusu draws fluidly from different genres and modes in “Nanny” — from scene to scene, the movie plays like an immigration drama, a lonely…

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Review of Strange World (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 23 Nov 2022

The takeaway is the difficulty of collaboration in the face of entrenched beliefs and ways of navigating the world that, ultimately, must be…

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Review of All the Beauty and the Bloodshed (2022)

By Manohla Dargis (1,909) for The New York Times (9,847) on 23 Nov 2022

The movie’s bifurcated shape isn’t novel, but Poitras’s marshaling of all this information is exceptionally graceful…

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