Movie Reviews Published by The New Yorker - Page 2 of 92

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Review of Padre Pio (2023)

By Richard Brody (868) for The New Yorker (1,837) on 02 Jun 2023

In its hectic, scattershot way, Padre Pio feels very much of the desperate present day…

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Review of The Little Mermaid (2023)

By Richard Brody (868) for The New Yorker (1,837) on 25 May 2023

If the original “Little Mermaid,” in its effervescent way, talked down to its audience, the new one, bluntly but amiably, talks ever so…

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Review of The Little Mermaid (2023)

By Richard Brody (868) for The New Yorker (1,837) on 25 May 2023

If the original “Little Mermaid,” in its effervescent way, talked down to its audience, the new one, bluntly but amiably, talks ever so…

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Review of Master Gardener (2023)

By Richard Brody (868) for The New Yorker (1,837) on 23 May 2023

Master Gardener is a movie divided against itself…

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Review of Master Gardener (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 22 May 2023

It’s almost as if the movie were following the blueprint of a moral scheme, like the layout of a herbaceous border, and plausibility be damned…

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Review of You Hurt My Feelings (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 22 May 2023

Given this mockable array, Holofcener goes surprisingly easy on her troupe of fools…

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Review of BlackBerry (2023)

By Richard Brody (868) for The New Yorker (1,837) on 15 May 2023

BlackBerry plays like a prototype still waiting to be realized, a sketch that’s still undeveloped…

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Review of Guardians of the Galaxy Vol. 3 (2023)

By Richard Brody (868) for The New Yorker (1,837) on 10 May 2023

The movie is grandiose but not impressive, elaborate but not eye-catching; its most poignant simulation is the effort to make it feel like…

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Review of BlackBerry (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 05 May 2023

Everything ends badly, or sadly, and one can imagine the film being screened for M.B.A…

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Review of Big George Foreman (2023)

By Richard Brody (868) for The New Yorker (1,837) on 01 May 2023

The story of young George’s childhood and rise to fame has a tense and turbulent charm, but the story of the professional heavyweight’s…

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Review of Beau Is Afraid (2023)

By Richard Brody (868) for The New Yorker (1,837) on 18 Apr 2023

To set up the movie’s cagey diminution of the protagonist, Aster diminishes the protagonist’s world, too—he suppresses Beau’s identity…

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Review of Beau Is Afraid (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 17 Apr 2023

All in all, Beau Is Afraid gave me the unsettling feeling that, owing to some administrative error, I had stumbled upon an extended therapy…

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Review of Renfield (2023)

By Richard Brody (868) for The New Yorker (1,837) on 14 Apr 2023

It’s bouncy, clever, amiable, and idiosyncratic, but its virtues seem inseparable from its over-all inertness and triviality…

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Review of Air (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 10 Apr 2023

This movie, in short, kneels at the altar of high capitalism…

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Review of Air (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 10 Apr 2023

This movie, in short, kneels at the altar of high capitalism…

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Review of Air (2023)

By Richard Brody (868) for The New Yorker (1,837) on 07 Apr 2023

The movie’s substance remains largely implicit; its pleasures are partial, detached, and superficial…

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Review of Air (2023)

By Richard Brody (868) for The New Yorker (1,837) on 07 Apr 2023

The movie’s substance remains largely implicit; its pleasures are partial, detached, and superficial…

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Review of Showing Up (2023)

By Richard Brody (868) for The New Yorker (1,837) on 03 Apr 2023

It’s a quiet, candid, sharply conceived and imaginatively realized masterwork, her first film of such bold and decisive originality; it’s…

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Review of Acidman (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 03 Apr 2023

In short, this film is what would remain if you deleted all the spaceships from Close Encounters of the Third Kind: the tale of a once ordinary…

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Review of A Thousand and One (2023)

By Richard Brody (868) for The New Yorker (1,837) on 29 Mar 2023

Rockwell’s vigorous detailing of personal life—with its evocation of inner lives—is at the heart of its political vision and of its dramatic…

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