For 3,572 reviews, this publication has graded:
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47% higher than the average critic
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2% same as the average critic
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51% lower than the average critic
On average, this publication grades 0.8 points lower than other critics.
(0-100 point scale)
Average Movie review score: 64
Highest review score: | Hell or High Water | |
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Lowest review score: | The Call of the Wild |
Score distribution:
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Positive: 1,995 out of 3572
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Mixed: 1,250 out of 3572
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Negative: 327 out of 3572
3572
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Alison Willmore
As Solène, Hathaway gives a particularly lovely and vulnerable performance. She’s radiant as a woman reconnecting with big, swooping emotions, and reminding herself that those feelings are not the exclusive territory of the young.- New York Magazine (Vulture)
- Posted May 2, 2024
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Reviewed by
Roxana Hadadi
Sex can be a rigid rubric of performance for some and a fluid experiment in expression for others. The friction between those two perspectives fascinates Femme, a volatile, sensuous revenge film in which the body and its desires don’t lie.- New York Magazine (Vulture)
- Posted May 1, 2024
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Reviewed by
Bilge Ebiri
What makes Alex Garland’s Civil War so diabolically clever is the way that it both revels in and abhors our fascination with the idea of America as a battlefield.- New York Magazine (Vulture)
- Posted Apr 12, 2024
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Reviewed by
Alison Willmore
It overflows with intriguing ideas, even if they aren’t all fully explored.- New York Magazine (Vulture)
- Posted Apr 6, 2024
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Reviewed by
Bilge Ebiri
With The Old Oak, Ken Loach goes out with one last, full-throated call for brotherhood and solidarity. It’s the most hopeful the old soldier’s been in years.- New York Magazine (Vulture)
- Posted Apr 6, 2024
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Reviewed by
Bilge Ebiri
Like the best studio horror directors, Stevenson understands that we’re not here for logic. The First Omen is soaked in style and mood with images that are both textured and shocking and that tap into tantalizingly visceral fears.- New York Magazine (Vulture)
- Posted Apr 6, 2024
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Reviewed by
Bilge Ebiri
At times, it feels as though it has emerged — dusty, tattered, and beautiful — from the storied earth of Italy itself.- New York Magazine (Vulture)
- Posted Mar 29, 2024
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Reviewed by
Bilge Ebiri
By the time the movie is over, we feel, perhaps for the first time, like we’ve gotten to know this legendary, almost mythical figure. Despite the tumult of her life and her singularity as both a person and an artist, this Frida seems downright familiar.- New York Magazine (Vulture)
- Posted Mar 28, 2024
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Reviewed by
Alison Willmore
Despite the mercenary nature of its existence, Road House is better than it has any right to be — perfectly enjoyable schlock that’s helped along by how unserious it is.- New York Magazine (Vulture)
- Posted Mar 22, 2024
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Reviewed by
Bilge Ebiri
Mohan seduces us with form while the central performance engages us on a more elemental level.- New York Magazine (Vulture)
- Posted Mar 22, 2024
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Reviewed by
Alison Willmore
Of the many things that make Do Not Expect Too Much From the End of World exhilarating, from its egalitarian mix of high and low references to its delightful profanity, what stands out is its willingness to acknowledge the general horror of modern existence, and then to suggest the only reasonable response is to laugh.- New York Magazine (Vulture)
- Posted Mar 22, 2024
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Reviewed by
Bilge Ebiri
A spare, lovely work directed by the late musician’s son, Neo Sora, Ryuichi Sakamoto: Opus is even more haunting on a big screen, where its shimmering black-and-white photography and elegant camera moves actually heighten the intimacy of the performance.- New York Magazine (Vulture)
- Posted Mar 16, 2024
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Reviewed by
Bilge Ebiri
There are many elements that make The Fall Guy enormous fun, but what makes it genuinely artful is the way that Leitch and his team (including writer Drew Pearce and stunt coordinator Chris O’Hara) have conceived the film’s stunts as extensions of the characters.- New York Magazine (Vulture)
- Posted Mar 12, 2024
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Reviewed by
Bilge Ebiri
More than a fantasy adventure, Damsel is a grisly and at times even touching tale of endurance and survival. It’s sweaty, snarly fun.- New York Magazine (Vulture)
- Posted Mar 8, 2024
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Reviewed by
Alison Willmore
Villeneuve’s facility with this stuff doesn’t just come from his talent for spectacle, though there are set pieces in Dune: Part Two that aim to blow the top of your skull off.- New York Magazine (Vulture)
- Posted Mar 1, 2024
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Reviewed by
Bilge Ebiri
We walk away from the film with a dark empathy for these people, and for ourselves.- New York Magazine (Vulture)
- Posted Feb 23, 2024
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Reviewed by
Bilge Ebiri
Perhaps most importantly, The Taste of Things offers a perfect match between Hung’s artistic impulses and his subject matter.- New York Magazine (Vulture)
- Posted Feb 9, 2024
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Reviewed by
Roxana Hadadi
Under the Fig Trees is a big-minded film that grounds its ideas about labor, sexism, faith, and modernity in the zippy rhythms of its characters’ negotiations around friendship, romance, and work. Most of the film’s runtime is people talking, but with evocative dialogue and lived-in performances from mostly first-time actors, it’s an unapologetic slice of life.- New York Magazine (Vulture)
- Posted Feb 7, 2024
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Reviewed by
Bilge Ebiri
If it feels somewhat hazy and unsatisfying as a story, that is perhaps by design. Its fragmented, elliptical style has the quality of a dark, fragile memory.- New York Magazine (Vulture)
- Posted Feb 2, 2024
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Reviewed by
Bilge Ebiri
The anecdotes are mostly on brand for the musicians.- New York Magazine (Vulture)
- Posted Feb 1, 2024
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Reviewed by
Alison Willmore
Pictures of Ghosts is so lovely and alive that, if anything, it only reassures you that movies aren’t going anywhere.- New York Magazine (Vulture)
- Posted Jan 29, 2024
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Reviewed by
Bilge Ebiri
The film’s most powerful achievement is perhaps also its most basic: the simple sight of two friends talking, openly and gently, about all the things on their minds.- New York Magazine (Vulture)
- Posted Jan 27, 2024
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Reviewed by
Bilge Ebiri
The picture’s charming modesty is its great virtue; it’s a light movie with a heavy heart.- New York Magazine (Vulture)
- Posted Jan 26, 2024
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Reviewed by
Alison Willmore
The marvel of Tótem is that it feels so organic though it’s clearly the result of an enormous amount of preparation and precision, the camera winding its way through crowded spaces to catch the most delicate of interactions. It overflows with love and pain, sometimes both intertwined, and it’s openhearted about death existing alongside life in a way that feels rewardingly mature, even if its protagonist is a child.- New York Magazine (Vulture)
- Posted Jan 26, 2024
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Reviewed by
Bilge Ebiri
Ibelin is an overwhelming film, ugly tears all the way down. It starts off with the most unspeakable of tragedies and then, as it winds its way back through Mats’s life, becomes a bittersweet story of empowerment, acceptance, even joy.- New York Magazine (Vulture)
- Posted Jan 23, 2024
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Reviewed by
Bilge Ebiri
The film is, first and foremost, a visual and sonic experience. We can lose ourselves in it. I think we’re meant to.- New York Magazine (Vulture)
- Posted Jan 22, 2024
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Reviewed by
Bilge Ebiri
Its observations about the disconnect between its elderly protagonist and the society around her are surprisingly relatable.- New York Magazine (Vulture)
- Posted Jan 22, 2024
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Reviewed by
Bilge Ebiri
It’s easy to predict what will happen narratively in Between the Temples, but it’s not nearly as easy to predict what these characters will actually do, what they’ll say and how they’ll act.- New York Magazine (Vulture)
- Posted Jan 21, 2024
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Reviewed by
Bilge Ebiri
The film is at its best when it focuses on Lou and Jackie’s love for each other . . . Their passion fuels a lot of the characters’ impulsive decisions later in the story. But as things descend into further violence, the film can start to feel one note.- New York Magazine (Vulture)
- Posted Jan 21, 2024
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Reviewed by
Bilge Ebiri
Presence isn’t afraid to be narratively predictable, because it’s out there visually. It’s an art film that also works as a spellbinding horror film, and it might be the best thing Soderbergh has done in ages.- New York Magazine (Vulture)
- Posted Jan 20, 2024
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Reviewed by
Alison Willmore
I Saw the TV Glow manages to be enveloping without being inviting and to offer a sense of emotional intimacy without requiring that those emotions be comprehensible.- New York Magazine (Vulture)
- Posted Jan 20, 2024
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Reviewed by
Roxana Hadadi
The documentary may be understated, with its long dialogue-free stretches. But the distractions that pull Abbass’s stare away from her daughter’s lens give Bye Bye Tiberias a pointedly political backbone that the documentary buoys with clever editing and a tangible self-assuredness.- New York Magazine (Vulture)
- Posted Jan 12, 2024
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Reviewed by
Roxana Hadadi
What elevates the film above trauma-porn gore and pushes it into transcendence, though, is how its philosophical script and unshakeable performances navigate the question of whether survival is a transgression against God.- New York Magazine (Vulture)
- Posted Jan 5, 2024
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Reviewed by
Jen Chaney
The movie is not demanding anyone feel that way nor straining to jerk tears out of its audience. It is matter-of-fact, even when those facts aren’t necessarily flattering to its subject.- New York Magazine (Vulture)
- Posted Jan 4, 2024
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Reviewed by
Bilge Ebiri
The film is an unshowy but slick underdog sports picture, fluidly told and elegantly mounted. It’s about rowing, for chrissakes; it doesn’t have a post-modern or irreverent bone in its body, and for that, we can be at least a little grateful.- New York Magazine (Vulture)
- Posted Dec 26, 2023
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Reviewed by
Alison Willmore
There’s an admirable defiance to Haigh’s interest in characters who aren’t easy in their own sexual identities, who don’t feel in sync with queer culture, and who struggle with scars from the past and internalized shame that doesn’t go away just because it’s unreasonable.- New York Magazine (Vulture)
- Posted Dec 22, 2023
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Reviewed by
Bilge Ebiri
It would be silly to call Anyone But You smart, but it has a knowing quality that allows it to confidently navigate some of the more familiar aspects of the rom-com.- New York Magazine (Vulture)
- Posted Dec 22, 2023
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Reviewed by
Bilge Ebiri
The way he films Kiefer, Wenders finds more drama in gestures such as these than he might in biographical detail. This is art that dares to live in the world, and Anselm is itself a wonderfully alive work.- New York Magazine (Vulture)
- Posted Dec 19, 2023
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Reviewed by
Bilge Ebiri
Chicken Run: Dawn of the Nugget is baggier than the original, not as funny, and it drags in parts and is on the whole less memorable. But dammit, it’s still fun, and that’s ultimately what matters.- New York Magazine (Vulture)
- Posted Dec 15, 2023
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Reviewed by
Alison Willmore
The weirder its treatment of the treat becomes, the better the movie is, cutting through the script’s more potentially sentimental tendencies. It never reaches the singularly compelling strangeness of the source material, but it lands somewhere close enough to be mostly satisfying.- New York Magazine (Vulture)
- Posted Dec 14, 2023
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Reviewed by
Alison Willmore
Eileen may ultimately be a little thin, but it’s a bracing watch, powered not just by its two main performances but also by Ireland in that small but powerful role as a wretched enabler.- New York Magazine (Vulture)
- Posted Dec 8, 2023
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Reviewed by
Bilge Ebiri
It’s all garish, nightmarish spectacle — beautiful, terrifying, and poisonous.- New York Magazine (Vulture)
- Posted Dec 5, 2023
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Reviewed by
Bilge Ebiri
There’s life boiling under the simple surfaces, which is both Kaurismäki’s aesthetic mantra and his great theme. At their best, these quiet, cool films tear you to pieces. Fallen Leaves already feels like one of his signature works.- New York Magazine (Vulture)
- Posted Nov 17, 2023
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Reviewed by
Alison Willmore
The marvel of Priscilla is in its dual awareness, how it’s able to immerse us in the bubble-bath-balmy perspective of a teenager experiencing an astonishing bout of wish fulfillment and, at the same time, always allow us to appreciate how disturbing what’s happening actually is.- New York Magazine (Vulture)
- Posted Nov 3, 2023
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Reviewed by
Alison Willmore
Green has a talent for depicting the way women constantly recalibrate their behavior when moving through male spaces, trying to figure out how to attract enough attention but not too much, to come across as pleasant without inviting unwanted intimacies.- New York Magazine (Vulture)
- Posted Oct 19, 2023
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Reviewed by
Bilge Ebiri
The Delinquents works its magic on us the way that the promise of freedom works on its characters. It’s a vision of a life unlived — as impossible as it is intoxicating.- New York Magazine (Vulture)
- Posted Oct 19, 2023
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Reviewed by
Bilge Ebiri
It’s not hard to see why Triet’s picture resonates. It has both suspense and intellectual ambition; plot revelations don’t just send the story in new directions, they expand the film’s cultural scope.- New York Magazine (Vulture)
- Posted Oct 17, 2023
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It’s a logical expansion, another exercise in big-league capitalism from an artist who has used pizza boxes and UPS trucks as promotional platforms. But it’s also a showcase for the pen and pain that animate Swift’s finest compositions, the fuel that keeps the pistons in her well-oiled business apparatus pumping year after year.- New York Magazine (Vulture)
- Posted Oct 16, 2023
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Reviewed by
Bilge Ebiri
Once Within a Time runs 52 minutes, and it’s so lovely, funny, and charming that it feels like 15. But when it’s over, you feel like you’ve seen the world.- New York Magazine (Vulture)
- Posted Oct 15, 2023
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Reviewed by
Bilge Ebiri
Even with its complicated moral vision, Wouk’s ending reoriented the story’s emotional focus; some might argue it clarified it. Friedkin’s ending leaves you unsure of what to think or feel. It sends you out questioning your beliefs — about war, about service, about madness, even about right and wrong. In that sense, despite the lack of ornament and the reduced scale, this Caine Mutiny Court-Martial is pure Friedkin.- New York Magazine (Vulture)
- Posted Sep 29, 2023
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Reviewed by
Alison Willmore
The Creator may be an effective interrogation of American imperiousness and imperialism, but it also has a tender, anguished heart.- New York Magazine (Vulture)
- Posted Sep 29, 2023
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Reviewed by
Bilge Ebiri
What comes through are Vaniček’s expert orchestration of suspense, and the cast’s ability to make their characters’ fears feel genuine.- New York Magazine (Vulture)
- Posted Sep 27, 2023
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Reviewed by
Jen Chaney
This one is a celebration of Cassandro, and like so many great sports movies before it, it’s an underdog story. But it’s one steeped in the grittiness of reality that avoids leaning too hard into easy sentimentality.- New York Magazine (Vulture)
- Posted Sep 15, 2023
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Reviewed by
Roxana Hadadi
You’ll remember Anaita Wali Zada’s eyes. As Donya, an Afghan refugee in the wry and wistful Fremont, the first-time actor is a steadily building wave, a maelstrom of intention and purpose.- New York Magazine (Vulture)
- Posted Sep 15, 2023
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Reviewed by
Bilge Ebiri
This is an eerily silent work, full of long pauses and distant, baffling sounds; even the score seems to be mixed low, as if it were drifting through a window, a dark memory. Branagh also plays with the rhythm, using pace and composition to set us ill at ease. Vast stretches of darkness in the frame are cut through with shocks of color.- New York Magazine (Vulture)
- Posted Sep 15, 2023
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Reviewed by
Alison Willmore
There are surprises to be found in The Holdovers, but they come from the characters, not the story — from the ways each of the three main figures reveals new depths and confounds expectations.- New York Magazine (Vulture)
- Posted Sep 12, 2023
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Reviewed by
Alison Willmore
The literary world jabs are sharp and funny, but it’s the rueful family dynamics that make the film so rewarding, as well as the performances.- New York Magazine (Vulture)
- Posted Sep 10, 2023
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Reviewed by
Bilge Ebiri
Mexican director Michel Franco’s somber drama about the ghosts of the past has a lot on its mind, and not all of it makes sense. But its two leads are so good together, so weirdly right together, that everything slips away and you just watch them.- New York Magazine (Vulture)
- Posted Sep 9, 2023
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Reviewed by
Alison Willmore
The pleasant surprise of Dumb Money is that it’s such an effective entertainment, even if it oversells the revolutionary impact of what it’s depicting.- New York Magazine (Vulture)
- Posted Sep 9, 2023
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Reviewed by
Bilge Ebiri
The result is the kind of ravishing, rousing epic we don’t really get much of anymore.- New York Magazine (Vulture)
- Posted Sep 8, 2023
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Reviewed by
Alison Willmore
The Boy and the Heron is irresistible in its dream logic, straddling the adorable (white blob creatures called Warawara that inflate like balloons) and the dark (parakeet soldiers that are on the search for fresh meat). But what makes it most compelling are the ways in which the real and the magical are equal presences.- New York Magazine (Vulture)
- Posted Sep 8, 2023
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Reviewed by
Bilge Ebiri
Linklater’s gentle touch is his secret weapon, and Hit Man might be a masterpiece.- New York Magazine (Vulture)
- Posted Sep 8, 2023
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Reviewed by
Bilge Ebiri
Origin has instances of raw domestic melodrama, but the emotions are so sincere that it’s hard not to be moved by it all. The film’s depiction of moments out of history is similarly textured.- New York Magazine (Vulture)
- Posted Sep 7, 2023
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Reviewed by
Bilge Ebiri
The movie’s hectic (albeit very precise) swirl of dialogue creates a background against which the idea of slowing down and directing all your attention towards one thing feels like a genuine rebuke of the world. It’s a simple and obvious enough conceit, but Anderson and his cast have such fun with it that they render it fresh and original.- New York Magazine (Vulture)
- Posted Sep 2, 2023
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Reviewed by
Bilge Ebiri
Maestro somehow proves that Cooper is a director of genuine vision, even though it’s not a particularly successful movie.- New York Magazine (Vulture)
- Posted Sep 2, 2023
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Reviewed by
Alison Willmore
It delivers the goods, thanks to Washington’s performance and Fuqua’s zest for going graphic.- New York Magazine (Vulture)
- Posted Sep 1, 2023
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Reviewed by
Bilge Ebiri
Ferrari is elegant and restless, with a sense throughout that something horrific might be lurking around each corner. And when the director straps his cameras on those cars and sends them on their way, the picture transforms into something more visceral and chaotic, a fever dream (or maybe a nightmare) of speed and smoke.- New York Magazine (Vulture)
- Posted Aug 31, 2023
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Reviewed by
Bilge Ebiri
Beneath all the genre theatrics, what comes through most vividly in El Conde are Larraín’s sadness and rage at what happened to his country.- New York Magazine (Vulture)
- Posted Aug 31, 2023
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Reviewed by
Alison Willmore
If anything, I wanted Bottoms to be even more anarchic. . . As is, it’s still a great — and audacious — time.- New York Magazine (Vulture)
- Posted Aug 25, 2023
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Reviewed by
Bilge Ebiri
This is a paycheck movie, to be sure, the kind of direct-to-video title that gets a theatrical release because the lead actor still has star power. But he and his director have earned that paycheck. I’m excited to see what Liam Neeson will be stuck inside next.- New York Magazine (Vulture)
- Posted Aug 25, 2023
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Reviewed by
Alison Willmore
This winning coming-of-age comedy understands that, when you’re 13 years old, the world really does feel like it could end if you’re not able to wear the dress of your dreams to your bat mitzvah, or if, God forbid, your crush expresses interest in someone other than you.- New York Magazine (Vulture)
- Posted Aug 25, 2023
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Reviewed by
Bilge Ebiri
The story doesn’t want to surprise us so much as it wants to live down to our crude expectations. At its best, as with the aforementioned squirrel-a-trois, Strays jolts us with randomness. But most of the time, it’s pleasingly, predictably deranged.- New York Magazine (Vulture)
- Posted Aug 18, 2023
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Reviewed by
Bilge Ebiri
In the details, Blue Beetle comes alive — in the warmth with which the Reyes family is depicted, for example, or in Jaime’s utter cluelessness as he tries to control his newfound powers. Maridueña conveys the overwhelmed young hero’s anxiety with real charisma; the more helpless he is, the more we like him.- New York Magazine (Vulture)
- Posted Aug 18, 2023
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Reviewed by
Alison Willmore
The turtles’ unceasing, rapid-fire banter is all affectionate dunks on one another and pop-culture quips, and the look of the film is never less than entrancing, with computer animation that creates the feel of something handmade.- New York Magazine (Vulture)
- Posted Aug 16, 2023
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Reviewed by
Bilge Ebiri
What truly distinguishes Last Voyage of the Demeter, beyond its thick atmosphere of dread, is its gleeful cruelty, the delicious mean streak with which it sets up its suspense set pieces and its kills.- New York Magazine (Vulture)
- Posted Aug 16, 2023
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Reviewed by
Alison Willmore
Tomas is the film’s most captivating element as well as its limiting factor because it’s only possible to bear so much time in his company. It’s a testament to Rogowski’s performance that Tomas’s appeal remains apparent despite his behavior, that his gravitational pull is understandable even as you long for the others to escape it.- New York Magazine (Vulture)
- Posted Aug 4, 2023
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Reviewed by
Alison Willmore
Talk to Me doesn’t quite have something pointed to say about it, or anything else, but that’s okay — it’s just here to show you a good time and then usher itself out before overstaying its welcome.- New York Magazine (Vulture)
- Posted Jul 28, 2023
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Reviewed by
Alison Willmore
Oppenheimer is a movie so sprawling it’s difficult to contend with. It’s rich, uncompromising, and borderline unwieldy, but more than anything, it’s a tragedy of operatic grandeur despite so many of its scenes consisting of men talking in rooms.- New York Magazine (Vulture)
- Posted Jul 19, 2023
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Reviewed by
Alison Willmore
Seriousness does eventually descend on Afire like the check at the end of a meal, but until then the film, the latest feature from German filmmaker Christian Petzold, is a beguilingly funny affair about getting in your own way.- New York Magazine (Vulture)
- Posted Jul 14, 2023
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Reviewed by
Alison Willmore
Theater Camp really just wants to bask in the world it’s created, and it’s hard to complain about something being too affectionate.- New York Magazine (Vulture)
- Posted Jul 14, 2023
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Reviewed by
Alison Willmore
What makes Nimona so refreshing is that it doesn’t just plunk these characters onscreen as a contribution to the battered cause of representation — it also has something to say about them and their respective relationships with the status quo.- New York Magazine (Vulture)
- Posted Jul 6, 2023
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Reviewed by
Bilge Ebiri
Whenever it gets down to the business of making Tom Cruise run and jump and drive and fly in and out of things, Dead Reckoning manages to astonish.- New York Magazine (Vulture)
- Posted Jul 5, 2023
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Reviewed by
Bilge Ebiri
For all its breeziness, No Hard Feelings stays with you because its central dynamic feels so surprisingly honest.- New York Magazine (Vulture)
- Posted Jun 25, 2023
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Reviewed by
Alison Willmore
Across the Spider-Verse looks incredible, even better than the groundbreaking first installment, but what’s truly impressive about it is how willing it is to entrust its storytelling to its animation.- New York Magazine (Vulture)
- Posted Jun 2, 2023
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Alison Willmore
Reality is filled with the sickening tension of a thriller, but it really plays like a tragedy, given that we already know what happened to its subject next.- New York Magazine (Vulture)
- Posted May 30, 2023
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Bilge Ebiri
Your cousin could have written this movie. But maybe only Wenders could have directed it. He has the sensitivity to shoot the seesawing depths of Yakusho’s face. He has the eye to capture the elegant and diverse architecture of Tokyo’s public bathrooms.- New York Magazine (Vulture)
- Posted May 26, 2023
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Reviewed by
Bilge Ebiri
Kitano has conjured a universe of such incredible and casual nastiness that we yearn for some nobility and loyalty, or even some modicum of decency.- New York Magazine (Vulture)
- Posted May 25, 2023
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Reviewed by
Bilge Ebiri
Erice’s fourth feature is a stirring tale about memory, identity, and friendship, and it feels deeply, almost alarmingly personal.- New York Magazine (Vulture)
- Posted May 25, 2023
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Reviewed by
Bilge Ebiri
By cutting things up and showing us the perils of fractured perspectives, the director, one of cinema’s great humanists, demonstrates that compassion is more than just a natural state of being; it’s a process that requires constant expansion of one’s field of vision.- New York Magazine (Vulture)
- Posted May 24, 2023
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Reviewed by
Bilge Ebiri
The audacity and beauty of Asteroid City lie in the way it connects the mysteries of the human heart to the secrets of science and the universe.- New York Magazine (Vulture)
- Posted May 23, 2023
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Reviewed by
Bilge Ebiri
In its own sly and subtly devastating way, The Zone of Interest pulls us into its circle of evil.- New York Magazine (Vulture)
- Posted May 22, 2023
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Reviewed by
Bilge Ebiri
The film is both humane and scathing. Which is why Haynes’s stylistic treatment of the subject, veering between noirish gusto and flights of snark, winds up being so touching.- New York Magazine (Vulture)
- Posted May 22, 2023
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Bilge Ebiri
For all its extravagant running time (three hours and 26 minutes!), its big-swing history lessons, and its tale of an Old West giving way to the regimentation of a modern police force, Killers of the Flower Moon turns out to be that simplest and slipperiest of things: the story of a marriage. And a twisted, tragic one at that.- New York Magazine (Vulture)
- Posted May 20, 2023
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Reviewed by
Bilge Ebiri
Its real-world mysteries eventually become existential ones, but the film never stops sending chills up your spine.- New York Magazine (Vulture)
- Posted May 19, 2023
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Bilge Ebiri
The damn thing is fun. Mangold may not have the young Spielberg’s musical flair for extravagant action choreography (who does?), but he is a tougher, leaner director, using a tighter frame and keeping his camera close.- New York Magazine (Vulture)
- Posted May 19, 2023
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Bilge Ebiri
It’s the comic energy generated by the triumvirate of Howerton, Baruchel, and Johnson that really drives BlackBerry, but Johnson and his co-writer Matthew Miller also find lively ways to dramatize the technological concepts at play.- New York Magazine (Vulture)
- Posted May 12, 2023
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Bilge Ebiri
Sisu veers between the elemental and the ethereal. Once it’s over, it feels like you must have dreamed it.- New York Magazine (Vulture)
- Posted May 5, 2023
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Reviewed by
Bilge Ebiri
Because Rocket is not just an object, and because the film’s flashback structure invests the quest with emotional power, the plot of Guardians 3 never feels like paint-by-numbers gamification; it feels like something we might actually want to care about.- New York Magazine (Vulture)
- Posted May 4, 2023
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Alison Willmore
If the grown-ups in this coming-of-age story keep drawing all the focus, it’s no shade on Margaret — they just have so much more going on.- New York Magazine (Vulture)
- Posted Apr 28, 2023
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Bilge Ebiri
The flaws are part of the overall effect — spontaneous and human. The reason Broken Lizard seems to keep making cult movies is because when you watch them, you feel like you were there when they made it. Broken Lizard is all of us.- New York Magazine (Vulture)
- Posted Apr 20, 2023
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