Movie Reviews Published by The New Yorker - Page 3 of 92

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Review of Pinball: The Man Who Saved the Game (2023)

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

The Braggs pull off the vertiginous intricacy of this narrative with playful cheer and breezy charm, which is carried along by the performances,…

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Review of What the Hell Happened to Blood, Sweat & Tears? (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 21 Mar 2023

More than it knows, this movie is an engaging, and sometimes enraging, exposé of chronic insularity…

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Review of John Wick: Chapter 4 (2023)

By Richard Brody (868) for The New Yorker (1,837) on 21 Mar 2023

In short, the last half hour or so of the movie’s nearly three-hour span is giddily intense, swoony, swashbuckling, and sensational yet superficial…

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Review of Rewind & Play (2023)

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

In Rewind & Play, Gomis does more than reveal the discussion that didn’t see the light of day in 1970; he reveals the cinematic methods by…

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Review of Palm Trees and Power Lines (2023)

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

It’s a contemporary story that feels as if it has been worn away to a featureless, atemporal perfection of the sort that has been handed…

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Review of Creed III (2023)

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

Creed III makes clear that Jordan, in directing and starring, has serious matters, personal and professional and societal, in mind…

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Review of Cocaine Bear (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 27 Feb 2023

Cocaine Bear has a peculiar jostling quality, as the various characters shuffle onto center stage and then get elbowed aside to make way for…

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Review of The Quiet Girl (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 27 Feb 2023

Finely framed by the cinematographer Kate McCullough, The Quiet Girl is an idyll, yet its placid surface is puckered by anxiety…

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Review of Ant-Man and the Wasp: Quantumania (2023)

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

The best thing about “Quantumania” is, surprisingly, its script (by Jeff Loveness), which is like saying that the best thing about a building…

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Review of Magic Mike's Last Dance (2023)

By Richard Brody (868) for The New Yorker (1,837) on 08 Feb 2023

With its straining yet deadened feel, this is the movie of a director who dreams of putting on one last show before going home…

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Review of Knock at the Cabin (2023)

By Richard Brody (868) for The New Yorker (1,837) on 06 Feb 2023

What’s jolting about Shyamalan’s film is its call to capitulation…

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Review of Knock at the Cabin (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 06 Feb 2023

One problem is that too much of Knock at the Cabin takes place in the cabin; at times, it has the smack of a well-made play, or, at any rate,…

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Review of passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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Review of Passages (2023)

By Richard Brody (868) for The New Yorker (1,837) on 30 Jan 2023

The abruptness, the willfulness, the ferocity of “Passages” reflect, more than any other film by an American director that I’ve seen…

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Review of When You Finish Saving the World (2023)

By Anthony Lane (1,079) for The New Yorker (1,837) on 23 Jan 2023

This being an Eisenberg project—he also wrote the screenplay—the laughter comes with a wince attached as standard, and there is barely…

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Review of Skinamarink (2023)

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

As impressive as the film is, the many thrillingly imaginative moments remain suspended and detached from each other, like scattered storyboard…

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Review of M3GAN (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Jan 2023

There’s a different, far more substantial movie lurking within, yet the virtues of efficiency, clarity, surprise, and wit that enliven the…

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Review of Turn Every Page - The Adventures of Robert Caro and Robert Gottlieb (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 09 Jan 2023

The audience for Turn Every Page, I’d guess, will be a medley of Freudians, students of political muscle, and New Yorkers—each bearing…

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Review of Women Talking (2022)

By Richard Brody (868) for The New Yorker (1,837) on 06 Jan 2023

The exceptional, often overwhelming power of the script that Polley wrote, based on Miriam Toews’s novel, is, if not undercut, not amplified…

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Review of Babylon (2022)

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

Artistically, what Babylon adds to the classic Hollywood that it celebrates is sex and nudity, drugs and violence, a more diverse cast, and…

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