Movie Reviews Published by The New Yorker - Page 88 of 92

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Review of King Kong (1976)

By Pauline Kael (368) for The New Yorker (1,837) on 27 Jun 1984

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish…

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Review of How Green Was My Valley (1941)

By Richard Brody (868) for The New Yorker (1,837) on 15 Jun 1984

Ford depicts a working-class solidarity based on morality, tradition, and community; he conveys his nuanced and tender sociology with surprising…

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Review of The Longest Yard (1974)

By Pauline Kael (368) for The New Yorker (1,837) on 15 May 1984

What saves it, aside from good performances by Burt Reynolds and a thundering herd of supporting grotesques, is, of all things, a tough, tiny…

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Review of Persona (1966)

By Richard Brody (868) for The New Yorker (1,837) on 23 Mar 1984

Bergman blends a theatrical subjectivity—scenes of the inner life that defy physical reality and depend on special effects, whether in the…

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Review of Beneath the Planet of the Apes (1970)

By Penelope Gilliatt (8) for The New Yorker (1,837) on 07 Mar 1984

I’m not sure that the story is the right receptacle for big notions about imperialism, racism, militarism, the balance of power, religiosity,…

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Review of The Band Wagon (1953)

By Pauline Kael (368) for The New Yorker (1,837) on 08 Feb 1984

For many, this 1953 feature represents the height of the American musical…

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Review of The Next Man (1976)

By Pauline Kael (368) for The New Yorker (1,837) on 25 Jan 1984

A suspense melodrama made by people whose talent for filmmaking and knowledge of international affairs would both fit comfortably into the…

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Review of The Last Picture Show (1971)

By Pauline Kael (368) for The New Yorker (1,837) on 23 Oct 1983

It’s plain and uncondescending in its re-creation of what it means to be a high-school athlete, of what a country dance hall is like, of…

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Review of Badlands (1974)

By Pauline Kael (368) for The New Yorker (1,837) on 12 Jul 1983

There's a basic flaw in Malick's method: he has perceived the movie--he's done our work instead of his…

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Review of Slap Shot (1977)

By Pauline Kael (368) for The New Yorker (1,837) on 20 May 1983

Slap Shot comes at you like a boisterous drunk. At first glance it appears harmlessly funny, in an extravagantly foul-mouthed sort of way…

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Review of The Great Santini (1979)

By Pauline Kael (368) for The New Yorker (1,837) on 19 Mar 1983

Overcalculated, thoroughly false humanist mush—one of those “real movies about real people” without a single authentic moment…

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Review of Bound for Glory (1976)

By Pauline Kael (368) for The New Yorker (1,837) on 12 Oct 1982

Ashby is excellent on atmosphere but fair to middling on character. When the film makes a sudden transition from epic to melodrama, things fall apart…

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Review of Time Bandits (1981)

By Pauline Kael (368) for The New Yorker (1,837) on 06 Oct 1982

When you can count the laughs in a comedy on the fingers of one hand, it isn’t so funny…

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Review of The Andromeda Strain (1971)

By Pauline Kael (368) for The New Yorker (1,837) on 02 Aug 1982

Despite all the drama of the situation (United States threatened with biological destruction from outer space, etc.) nothing very exciting…

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Review of What's Up, Tiger Lily? (1966)

By Pauline Kael (368) for The New Yorker (1,837) on 01 Aug 1982

Take a Toho Films (Japan) crime meller [directed by Senkichi Taniguchi], fashioned in the James Bond tradition for the domestic market there,…

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Review of Enter the Dragon (1973)

By Pauline Kael (368) for The New Yorker (1,837) on 06 Jul 1982

The lack of sentimentality helps focus the viewer on what the film depicts exceptionally well, namely wanton bad behavior and enthralling,…

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Review of Airport (1970)

By Pauline Kael (368) for The New Yorker (1,837) on 14 May 1982

An empty reshaping of Grand Hotel, held together by disaster in the sky…

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Review of Little Women (1933)

By Pauline Kael (368) for The New Yorker (1,837) on 15 Mar 1982

This unabashedly sentimental adaptation of Louisa May Alcott's novel remains, to this day, an example of Hollywood's best filmmaking…

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Review of Asylum (1972)

By Anthony Lane (1,079) for The New Yorker (1,837) on 17 Feb 1982

Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote Closer--but he is up against blunt and obvious material…

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Review of El Topo (1970)

By Pauline Kael (368) for The New Yorker (1,837) on 12 Feb 1982

Unfortunately, Jodorowsky is no Bunuel -- nor a Leone, for that matter -- and El Topo’s bloody odyssey, involving endless heavily symbolic…

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