Movie Reviews Published by The New Yorker - Page 12 of 92

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Review of Respect (2021)

By Richard Brody (868) for The New Yorker (1,837) on 18 Aug 2021

The filmmakers of Respect aim at a wide audience with an altogether more obvious and calculating contrivance…

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Review of Free Guy (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 16 Aug 2021

Levy, holding his nerve, does cut through the chaos, delivering a fable that, if not exactly coherent, is nonetheless tinged with the very…

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Review of Annette (2021)

By Richard Brody (868) for The New Yorker (1,837) on 11 Aug 2021

For most of Annette, Carax films the actors singing mainly in long travelling shots that hardly reveal much personality on the part of either…

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Review of Annette (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 09 Aug 2021

Annette is a folie de grandeur, alas, without the grandeur…

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Review of The Green Knight (2021)

By Richard Brody (868) for The New Yorker (1,837) on 03 Aug 2021

In The Green Knight, Lowery revises a legend, in style and in substance, in order to evoke a way of telling different stories, and of telling…

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Review of John and the Hole (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 02 Aug 2021

Sisto picks up the spell that is cast by Lowery’s tale, verdant with danger, and continues to weave…

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Review of The Green Knight (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 02 Aug 2021

The Green Knight wields a peculiar magic, the reason being that Lowery—as he showed in A Ghost Story (2017), which ranged with ease over…

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Review of Val (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Jul 2021

It is not a great film—its form is less personal than its substance, its revelations and insights come only intermittently…

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Review of Val (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Jul 2021

It is not a great film—its form is less personal than its substance, its revelations and insights come only intermittently…

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Review of Old (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Jul 2021

With Old, facing the constraints of filming during the pandemic—on a project that he’d nonetheless planned before it—Shyamalan has created…

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Review of Roadrunner: A Film About Anthony Bourdain (2021)

By Richard Brody (868) for The New Yorker (1,837) on 20 Jul 2021

The documentary is a mere encyclopedia-like info-product, which reduces its rich audiovisual archival material and its heartfelt interviews…

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Review of Space Jam: A New Legacy (2021)

By Richard Brody (868) for The New Yorker (1,837) on 20 Jul 2021

Though Space Jam: A New Legacy fails, woefully, as an aesthetic object and as a viewing experience, it somehow nonetheless succeeds as a conceptual…

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Review of No Ordinary Man (2021)

By Richard Brody (868) for The New Yorker (1,837) on 19 Jul 2021

No Ordinary Man challenges the very basis of cultural production, eschewing the familiar accumulation of biographical and historical information…

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Review of Pig (2021)

By Richard Brody (868) for The New Yorker (1,837) on 19 Jul 2021

The film is redeemed only by the dour, weary, mournful, stubborn, and wise performance of Nicolas Cage, which is not so much a star turn as…

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Review of Settlers (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 19 Jul 2021

Tense and firm at either end, it sags in the middle like a mattress…

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Review of No Sudden Move (2021)

By Richard Brody (868) for The New Yorker (1,837) on 01 Jul 2021

It’s a miniseries’ worth of action that’s crammed into the procrustean bounds of a near-two-hour feature, without the compensating dimensions…

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Review of Zola (2021)

By Richard Brody (868) for The New Yorker (1,837) on 29 Jun 2021

The movie exemplifies the power of the cinema—even the popular and commercial and invigoratingly swingy cinema—to reflect the inner life…

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Review of Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 28 Jun 2021

Summer of Soul is one of those rare films from which you emerge saying, “My favorite part was that bit. No, that bit. Wait, how about that bit?”…

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Review of F9 (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 28 Jun 2021

The acting is of a soaring ineptitude; the deeper Diesel emotes, the more he resembles a man who dabbed too much wasabi on his tuna roll…

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Review of Undine (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 14 Jun 2021

This is classic Petzold territory, where you can dwell in a place, or a relationship, without ever quite belonging there…

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