Movie Reviews Published by The New Yorker - Page 53 of 92

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Review of Red Eye (2005)

By David Denby (676) for The New Yorker (1,837) on 05 Nov 2012

Red Eye, which is exactly eighty-five minutes long, has been made with classical technique and bravura skill, and it's leaving moviegoers in…

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Review of The Music Man (1962)

By Pauline Kael (368) for The New Yorker (1,837) on 01 Nov 2012

Morton DaCosta’s straight translation (1962) of the Broadway blockbuster is pretty dismal in its desperate exuberance; but at least it boasts…

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Review of The Ghost Writer (2010)

By David Denby (676) for The New Yorker (1,837) on 29 Oct 2012

An extraordinarily precise and well-made political thriller--the best thing Polanski has done since the seventies, when he brought out the…

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Review of Cloud Atlas (2012)

By Anthony Lane (1,079) for The New Yorker (1,837) on 26 Oct 2012

Where the book is sinuous and oblique, their film is galumphing and heavy-handed, its rare flights of lyricism stranded between long stretches…

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Review of The Spanish Prisoner (1997)

By Anthony Lane (1,079) for The New Yorker (1,837) on 23 Oct 2012

This is the fifth movie to be written and directed by David Mamet, and it's his most bizarre one yet; people speak in that dreamy, lockjawed…

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Review of Toy Story (1995)

By Bruce Diones (105) for The New Yorker (1,837) on 14 Oct 2012

The easy-to-follow screenplay, about the rivalry between two toys -- cowboy Woody and spaceman Buzz Lightyear -- should excite young children;…

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Review of Sinister (2012)

By Anthony Lane (1,079) for The New Yorker (1,837) on 07 Oct 2012

Throughout Sinister, the rooms remain darker than crypts, whether at breakfast or dinnertime, and the sound design causes everything in the…

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Review of Argo (2012)

By Anthony Lane (1,079) for The New Yorker (1,837) on 07 Oct 2012

Finally, a voice-over from Jimmy Carter, lauding the efforts of those involved…

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Review of The Color of Money (1986)

By Pauline Kael (368) for The New Yorker (1,837) on 06 Oct 2012

We get the feeling that whatever it is Scorsese and Price have to say about these marvelous characters, it is not anything very interesting…

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Review of Time Out (2002)

By David Denby (676) for The New Yorker (1,837) on 27 Sep 2012

There's piercing sadness, and fury, too, in this Everyman's isolation, and Cantet is singularly skilled at evoking the universal condition…

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Review of Detropia (2012)

By David Denby (676) for The New Yorker (1,837) on 25 Sep 2012

This documentary film, about the deconstruction of a great American city, is surprisingly lyrical and often very moving…

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Review of Stop-Loss (2008)

By David Denby (676) for The New Yorker (1,837) on 22 Sep 2012

Stop-Loss is not a great movie, but it’s forceful, effective, and alive, with the raw, mixed-up emotions produced by an endless war…

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Review of Factory Girl (2006)

By David Denby (676) for The New Yorker (1,837) on 22 Sep 2012

It's a peculiar movie, frantic and useless, with a hyperactive camera that gives us no more than fleeting impressions of Edie ecstatic at parties,…

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Review of The American (2010)

By David Denby (676) for The New Yorker (1,837) on 19 Sep 2012

Inside the stony exterior of The American beat some tired old ideas about innocence and redemption…

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Review of End of Watch (2012)

By David Denby (676) for The New Yorker (1,837) on 18 Sep 2012

As social insight, End of Watch is useless, but as engrossing entertainment, it's irresistible, thanks to Ayer's gift for dialogue, the relentless…

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Review of The Soloist (2009)

By David Denby (676) for The New Yorker (1,837) on 18 Sep 2012

I don't know if Beethoven and a sympathetic newspaper reporter can redeem a messy American city, but this movie makes a plausible case for…

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Review of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

By Anthony Lane (1,079) for The New Yorker (1,837) on 12 Sep 2012

The problem with any allegorical plan, Christian or otherwise, is not its ideological content but the blockish threat that it poses to the…

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Review of The Master (2012)

By Anthony Lane (1,079) for The New Yorker (1,837) on 09 Sep 2012

On reflection, and despite these cavils, we should bow to The Master, because it gives us so much to revere, starting with the image that opens…

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Review of Keep the Lights On (2012)

By David Denby (676) for The New Yorker (1,837) on 03 Sep 2012

The two characters are ciphers, and the script, which Sachs co-wrote with Mauricio Zacharias, is by turns underwritten or banal…

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Review of Iron Man (2008)

By David Denby (676) for The New Yorker (1,837) on 01 Sep 2012

[Downey] can make offhandedness mesmerizing, even soulful; he passes through the key moments in this cloddish story as if he were ad-libbing…

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