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

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Review of Carmen Jones (1954)

By Pauline Kael (368) for The New Yorker (1,837) on 11 Apr 1961

The somewhat heavy-handed direction and the ultimately two-dimensional characters leave you admiring the workmanship without plucking at the…

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Review of True Confession (1937)

By Pauline Kael (368) for The New Yorker (1,837) on 21 Mar 1961

Carole Lombard's final film for Paramount was a charming screwball comedy that was entertaining, if lightweight…

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Review of The Postman Always Rings Twice (1946)

By Pauline Kael (368) for The New Yorker (1,837) on 24 Apr 1960

This has little of the insinuating nature of the best film noir, as Lana Turner and John Garfield go from 0 to 60 in their first scene together…

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Review of The Philadelphia Story (1940)

By Pauline Kael (368) for The New Yorker (1,837) on 14 Mar 1960

Excellent casting, a great storyline and a shrp script mean that this remains a classic of the genre and one of Katherine Hepburn's best roles…

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Review of A Star Is Born (1954)

By Pauline Kael (368) for The New Yorker (1,837) on 06 Mar 1958

Despite A Star Is Born’s musty jabs at movieland decadence in the wake of satires like Sunset Blvd…

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Review of A Place in the Sun (1951)

By Pauline Kael (368) for The New Yorker (1,837) on 01 Jan 1958

The chemistry between Clift and Taylor is unmistakeable – this is one of the great cinematic portraits of untamed desire – and there’s…

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Review of Flying Down to Rio (1933)

By Pauline Kael (368) for The New Yorker (1,837) on 10 Aug 1955

Although the lead trio does well enough, the presence of cinema's greatest musical comedy team fairly blasts the screen lovers into orbit whenever…

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Review of The Treasure of the Sierra Madre (1948)

By Pauline Kael (368) for The New Yorker (1,837) on 02 Nov 1953

The Treasure of the Sierra Madre is as enduring a classic as has ever come out of Hollywood, and arguably among the greatest, but the film…

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Review of Phantom of the Opera (1943)

By Pauline Kael (368) for The New Yorker (1,837) on 13 Dec 1952

The accent is more on musical extravaganza than horror, with endless operatic snippets for Eddy and Foster to warble, making it all a somewhat…

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Review of Red River (1948)

By Pauline Kael (368) for The New Yorker (1,837) on 05 Apr 1952

It’s a seemingly antithetical approach which separates Hawks’s cinema from its contemporaries and, in the case of Red River, shifted the…

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Review of The Lavender Hill Mob (1951)

By Pauline Kael (368) for The New Yorker (1,837) on 01 Oct 1951

The Lavender Hill Mob, along with Passport to Pimlico and Genevieve, is one of British cinema's most evocative films…

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Review of Foreign Correspondent (1940)

By Pauline Kael (368) for The New Yorker (1,837) on 02 Jan 1951

A thoroughly enjoyable affair, complete with some of his most memorable set pieces…

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Review of 42nd Street (1933)

By Pauline Kael (368) for The New Yorker (1,837) on 02 Nov 1948

This 1933 film is the best known of the Warner Brothers Depression-era musicals, though it doesn't compare in dash and extravagance to later…

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Review of The Green Pastures (1936)

By Pauline Kael (368) for The New Yorker (1,837) on 22 Jun 1948

It has enormous charm in its folklorish fancies, and a performance of great gentleness and good humour from Ingram which is never tainted by…

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Review of The Westerner (1940)

By Pauline Kael (368) for The New Yorker (1,837) on 22 Nov 1941

Supplied with a particularly meaty role, of which he takes fullest advantage, Brennan turns in a socko job that does much to hold together…

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Review of Animal Crackers (1930)

By Pauline Kael (368) for The New Yorker (1,837) on 10 Nov 1940

If your sense of humor leans heavily on wordplay and vaudevillian puns, you might even find the movie to be hilarious…

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Review of Monkey Business (1931)

By Pauline Kael (368) for The New Yorker (1,837) on 27 Feb 1936

A bit disorganized, it carries hints of surrealism (especially in Harpo's extraordinary performance) that later flowered in Duck Soup…

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