Movie Reviews Published by The New Yorker - Page 8 of 92

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Review of Deep Water (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 21 Mar 2022

Toward the end, Deep Water grows less ambiguous and more conventional, but the rest of it is actually well suited to Lyne’s fetishistic style,…

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Review of The Outfit (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 21 Mar 2022

What Moore’s film strives toward, and touches only erratically, is an emotional claustrophobia to match its physical squeeze…

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Review of The Batman (2022)

By Richard Brody (868) for The New Yorker (1,837) on 10 Mar 2022

The movie’s solid dramatic architecture is essentially uninhabited—“The Batman” is a cinematic house populated only by phantoms with…

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Review of After Yang (2022)

By Richard Brody (868) for The New Yorker (1,837) on 07 Mar 2022

After Yang shows how easily the taste for beauty can be tainted, subverted, distorted, and abused by the powers that be…

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Review of The Batman (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 05 Mar 2022

What is this “fun” of which Selina speaks…

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Review of Deception (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own…

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Review of Both Sides of the Blade (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

The silences that overwhelm the movie’s confrontational rages and the suppression of backstory details, underplaying motives and emphasizing…

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Review of Deception (2022)

By Richard Brody (868) for The New Yorker (1,837) on 04 Mar 2022

In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own…

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Review of Dear Mr. Brody (2022)

By Richard Brody (868) for The New Yorker (1,837) on 02 Mar 2022

Through Glassman’s diligent and empathetic investigations, it becomes a film of documents, in which the aura of the letters—the worlds…

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Review of Lucy and Desi (2022)

By Richard Brody (868) for The New Yorker (1,837) on 02 Mar 2022

Its core of information is largely a footnote to Aaron Sorkin’s drama “Being the Ricardos,” but, with access to previously unreleased…

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Review of After Yang (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 28 Feb 2022

You may start to wish you’d gone to see the new “Jackass” movie instead…

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Review of Huda's Salon (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 28 Feb 2022

It goes without saying that, like most of Abu-Assad’s films, especially Paradise Now(2005) and Omar(2014), Huda’s Salon is rubbed raw by…

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Review of Cyrano (2021)

By Richard Brody (868) for The New Yorker (1,837) on 28 Feb 2022

Cyrano is a thuddingly dull film that sinks under the ponderous undigested mass of its own bombast, squandering the talents of a fine cast…

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Review of CODA (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Feb 2022

The sense of calculation makes the journey feel like a lockstep march; the movie’s sense of a story that’s dictated rather than observed…

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Review of Coda (2021)

By Richard Brody (868) for The New Yorker (1,837) on 23 Feb 2022

The sense of calculation makes the journey feel like a lockstep march; the movie’s sense of a story that’s dictated rather than observed…

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Review of Marry Me (2022)

By Richard Brody (868) for The New Yorker (1,837) on 14 Feb 2022

If “Marry Me” plays with the obvious and brings it to obvious conclusions, its actors nonetheless invest its gestures and its dialogue,…

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Review of The Sky Is Everywhere (2022)

By Richard Brody (868) for The New Yorker (1,837) on 11 Feb 2022

The Sky Is Everywhere is a movie of inner vision, of fantasy and symbol, that coexists with the drama even when it doesn’t quite coalesce with it…

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Review of Kimi (2022)

By Richard Brody (868) for The New Yorker (1,837) on 10 Feb 2022

Amid its tightly plotted action, it seethes with a rage that seems pressurized by the sealed-off grimness of the pandemic years…

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Review of Moonfall (2022)

By Richard Brody (868) for The New Yorker (1,837) on 07 Feb 2022

The best parts of “Moonfall” feel like a sharp and cogent reproach to the corporate stolidity of the Marvel Cinematic Universe and other…

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Review of Sundown (2022)

By Anthony Lane (1,079) for The New Yorker (1,837) on 31 Jan 2022

As a whole, the film lacks the courage of its own despair. The longer it goes on, the more Franco feels obliged to pack it with plot and context…

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