Movie Reviews Published by The New Yorker - Page 13 of 92

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Review of The Amusement Park (1975)

By Richard Brody (868) for The New Yorker (1,837) on 14 Jun 2021

The film’s view of a mind thrown back on itself, and the profound vulnerability, mental derangement, and physical degradation that result,…

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Review of In the Heights (2021)

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

To dramatize such binding ideals, for almost two and a half hours, and to conjure precipitous revels from next to nothing, as Miranda and Chu…

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Review of Cruella (2021)

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

Emotions are not toyed with glancingly but stretched out and blazoned forth, and the result is that the new film is nearly an hour longer than…

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Review of A Quiet Place Part II (2021)

By Richard Brody (868) for The New Yorker (1,837) on 27 May 2021

A Quiet Place Part II is filled with striking, clever details; it displays no sense whatsoever of the big picture…

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Review of The Woman in the Window (2021)

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

Its script is junk—but junk brought to the screen with verve…

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Review of The Dry (2021)

By Anthony Lane (1,079) for The New Yorker (1,837) on 17 May 2021

The plot of The Dry, it has to be said, is not a model of elegance and plausibility…

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Review of Monday (2021)

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

Eventually, despite a number of Dionysian interludes, not least a drug-driven scooter ride with neither helmets nor clothes, this on-off emotional…

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Review of Voyagers (2021)

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

Most of Burger’s film, in truth, is either numb or dumb…

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Review of Monday (2021)

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

Eventually, despite a number of Dionysian interludes, not least a drug-driven scooter ride with neither helmets nor clothes, this on-off emotional…

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Review of Monday (2021)

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

Eventually, despite a number of Dionysian interludes, not least a drug-driven scooter ride with neither helmets nor clothes, this on-off emotional…

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Review of Godzilla vs. Kong (2021)

By Richard Brody (868) for The New Yorker (1,837) on 05 Apr 2021

The film is garishly overloaded with splices and grafts from other movies, other genres, and other premises, including a mythical setting and…

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Review of Godzilla vs. Kong (2021)

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

One mark of the Godzilla franchise is the ingenuity with which each director manages to waste the talents of an excellent cast…

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Review of Nobody (2021)

By Richard Brody (868) for The New Yorker (1,837) on 30 Mar 2021

As in life, intelligence in movies isn’t one-dimensional; it may be woefully lacking from one aspect of a film but shiningly present in another…

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Review of Zack Snyder's Justice League (2021)

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

It is a grind, it is a slog, it is a bore—it’s a mental toothache of a movie, whose ending grants not so much resolution as relief…

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Review of The Courier (2020)

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

Yet the movie, less stirring than it ought to be, is peculiarly cramped, lacking the emotional latitude of Bridge of Spies…

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Review of Coming 2 America (2021)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2021

The new film finds a few of its most inspired moments where it revises the plot to reflect current sensibilities, but its strained efforts…

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Review of The Father (2020)

By Anthony Lane (1,079) for The New Yorker (1,837) on 01 Mar 2021

Let’s be honest: the mainspring of The Father, onscreen, is the presence of Hopkins—an actor at the frightening summit of his powers, portraying…

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Review of Test Pattern (2021)

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

An echo of an echo, a convergence of social-scientific cinema and stifled screams of pain that appears designed, urgently and precisely, to…

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Review of Nomadland (2021)

By Richard Brody (868) for The New Yorker (1,837) on 22 Feb 2021

The two elements work against each other, each revealing the fault lines of the other: the fictional side remains bound to (and limited by)…

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Review of Judas and the Black Messiah (2021)

By Richard Brody (868) for The New Yorker (1,837) on 16 Feb 2021

Judas and the Black Messiah needed a coup of casting in order to find a performance that’s up to the character of Hampton…

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