For 3,582 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: | Daddy's Home 2 |
Score distribution:
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Positive: 2,000 out of 3582
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Mixed: 1,253 out of 3582
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Negative: 329 out of 3582
3582
movie
reviews
- By Date
- By Critic Score
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Reviewed by
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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Reviewed by
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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Reviewed by
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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Reviewed by
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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Reviewed by
Alison Willmore
Suzume may be a less effective romance than something like Your Name — it’s tough when half of your main pairing is a piece of furniture — but that’s because its real love story is with the stuff of everyday life, making it almost unbearably inviting and worth fighting for.- New York Magazine (Vulture)
- Posted Apr 17, 2023
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Reviewed by
Alison Willmore
Showing Up is more than worth surrendering to. It’s one of Reichardt’s best — warm as one of the sunny Portland, Oregon, afternoons Lizzy’s perpetually fretting her way through and an affectionate rumination on the relationship between art and all the day-to-day stuff of life that can get in the way of making it.- New York Magazine (Vulture)
- Posted Apr 10, 2023
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Reviewed by
Roxana Hadadi
How to Blow Up a Pipeline wants to pick a fight, and it does so with an appealing lack of artifice, its heart on its sleeve and its agenda in its punching fists.- New York Magazine (Vulture)
- Posted Apr 7, 2023
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Reviewed by
Bilge Ebiri
Air might seem at first like a ridiculous idea for a movie, but it is in fact an ingenious one.- New York Magazine (Vulture)
- Posted Apr 5, 2023
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Reviewed by
Alison Willmore
Rye Lane asks you to fall in love with Dom and Yas, but failing that, it will have you hopelessly smitten with its South London setting and with that feeling of having the day open and nothing to do but wander and see what may happen. With the city spread before you, you never know who you might meet.- New York Magazine (Vulture)
- Posted Apr 5, 2023
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Reviewed by
Bilge Ebiri
It’s a time-filler, not a time-waster. It’s a film of simple pleasures — but they are pleasures.- New York Magazine (Vulture)
- Posted Mar 31, 2023
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Reviewed by
Alison Willmore
A Thousand and One is rich and complex overall, the saga of someone battling to build a family and a stable home with no real experience of what that looks like.- New York Magazine (Vulture)
- Posted Mar 31, 2023
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Reviewed by
Bilge Ebiri
The film’s set pieces are built around comedy, with bits of (cleverly choreographed and directed) action and suspense to add some urgency, not the other way around.- New York Magazine (Vulture)
- Posted Mar 31, 2023
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- New York Magazine (Vulture)
- Posted Mar 29, 2023
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Reviewed by
Bilge Ebiri
The fact that The Lost King never quite reconciles this tension between striving for noble recognition and the fallacy of divine majesty feels like an implicit damnation of both.- New York Magazine (Vulture)
- Posted Mar 29, 2023
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Reviewed by
Bilge Ebiri
Tori and Lokita is a film born of rage and frustration, and as such, it’s a moving one. But it’s fair to expect more than just rage from artists — especially our greatest and most empathetic ones.- New York Magazine (Vulture)
- Posted Mar 24, 2023
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Reviewed by
Angelica Jade Bastien
Chapter 4 is blissfully entertaining, full of pratfalls and acting turns that lead to the audience swelling with oohs, aahs, and yelps.- New York Magazine (Vulture)
- Posted Mar 23, 2023
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Reviewed by
Bilge Ebiri
Come to think of it, these are all great roles — for Statham, Plaza, and Hartnett. Everybody in Operation Fortune — yes, even Ritchie — seems to be having fun. Sometimes, that’s all you need.- New York Magazine (Vulture)
- Posted Mar 7, 2023
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Reviewed by
Alison Willmore
Creed III’s greatest achievement is demonstrating that there’s more story to be told about Donnie, who after two films had been looking pretty thoroughly explored as a character.- New York Magazine (Vulture)
- Posted Mar 7, 2023
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Reviewed by
Roxana Hadadi
The relationship McInerny and Tucker build is so convincing in its mixture of exploitation and yearning that Palm Trees and Power Lines capably secures what Lea desires most too: your attention.- New York Magazine (Vulture)
- Posted Mar 7, 2023
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Reviewed by
Bilge Ebiri
It has an ambling, gory insouciance that might have been more off-putting in a movie not called Cocaine Bear.- New York Magazine (Vulture)
- Posted Feb 24, 2023
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Reviewed by
Angelica Jade Bastien
Freddie is a live wire given form, flesh, sinew. She’s a woman defined by what she refuses to be, and Chou appropriately refuses to offer any heartwarming, simple resolutions to the dilemmas marking her life.- New York Magazine (Vulture)
- Posted Feb 17, 2023
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Reviewed by
Roxana Hadadi
Maryam Touzani’s film is as precise and vivid as its titular garment.- New York Magazine (Vulture)
- Posted Feb 14, 2023
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Reviewed by
Bilge Ebiri
The result is the most exhilarating and wounding film M. Night Shyamalan has made in many, many years.- New York Magazine (Vulture)
- Posted Feb 3, 2023
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Reviewed by
Bilge Ebiri
This could have easily become a torrid, tear-jerking melodrama, but Hansen-Løve’s matter-of-fact approach to performance and incident allow the emotions to emerge organically from the unfussy drama onscreen.- New York Magazine (Vulture)
- Posted Jan 30, 2023
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Reviewed by
Alison Willmore
In addition to being a film about soulless jet-setters as a new form of walking dead, grounded in and caring about nothing, Infinity Pool is a phantasmagoric ode to the sensation of staying too long at the party.- New York Magazine (Vulture)
- Posted Jan 30, 2023
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Reviewed by
Bilge Ebiri
While No Bears is profoundly powerful in its own right, the knowledge that its maker is incarcerated gives its explorations of exile, truth, and freedom a throat-catching urgency.- New York Magazine (Vulture)
- Posted Jan 13, 2023
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Reviewed by
Alison Willmore
When Skinamarink sets out to actively scare . . . it’s very good at it. But the idea of the movie is more beguiling than the overall experience of watching it.- New York Magazine (Vulture)
- Posted Jan 13, 2023
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Reviewed by
Bilge Ebiri
The violence is visceral and presented with just enough authenticity to make you quiver. The context, however, is unreal enough that you don’t have to think too hard about it. You weren’t supposed to be thinking anyway.- New York Magazine (Vulture)
- Posted Jan 13, 2023
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Reviewed by
Bilge Ebiri
The Pale Blue Eye shows us everything we need to figure it all out and still manages to pull the rug out from under us. Even so, what ultimately resonates are the picture’s surprisingly moving central relationship and its vivid setting.- New York Magazine (Vulture)
- Posted Jan 6, 2023
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Reviewed by
Bilge Ebiri
The Way of Water makes clear that Cameron no longer needs to leave the confines of this (virtual) extrasolar moon in the Alpha Centauri system to create something closer to the heart. He can bend Pandora to his will, and now he’s bent it to make what might be his most earnest film to date.- New York Magazine (Vulture)
- Posted Dec 13, 2022
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Reviewed by
Alison Willmore
All the Beauty and the Bloodshed is instead an incandescent work that examines Goldin’s personal life, her evolution as an artist, and her later turn toward harm-reduction advocacy, and understands them to be part of the same journey.- New York Magazine (Vulture)
- Posted Nov 23, 2022
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Reviewed by
Alison Willmore
Bratton, who has an eye for compelling framing and unexpected beauty, has made something more complicated than a treatise against the power structures enshrined in the military, though he’s very aware of them.- New York Magazine (Vulture)
- Posted Nov 23, 2022
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Reviewed by
Alison Willmore
The rage at the heart of The Menu is directed at the impossible melding of art and commerce, at the way we’re taught that success at the former requires the support of the latter, even if it means making crushing compromises that drain the joy out of, in this case, the expressly straightforward pleasure of food.- New York Magazine (Vulture)
- Posted Nov 18, 2022
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Reviewed by
Bilge Ebiri
One might say that this new film attempts to be something closer to a standard-issue mystery, with its ornate story line, ambitious action scenes, and historically resonant milieu. But in the end, it still thrives or dies on its teenage star’s charm. It mostly thrives, even if the luster is a bit off this time around.- New York Magazine (Vulture)
- Posted Nov 11, 2022
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Reviewed by
Roxana Hadadi
Something in the Dirt deftly bounces between the oddness of its central story, the silliness of its documentary framing, and the resentments that eventually develop between its main characters, all buried inside what is essentially a hangout movie.- New York Magazine (Vulture)
- Posted Nov 11, 2022
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Reviewed by
Bilge Ebiri
By letting the picture embody his failures — by turning Armageddon Time into a self-aware look at his own limitations — the director makes that necessary connection between then and now, between the characters onscreen and us watching. In other words, he denies us the one thing these types of movies almost always provide: reassurance.- New York Magazine (Vulture)
- Posted Oct 28, 2022
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- New York Magazine (Vulture)
- Posted Oct 21, 2022
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Reviewed by
Alison Willmore
"Perverse” is a good overall description for Stars at Noon, a hypnotic but relentlessly disconcerting movie and never more so than in the way that Denis frames Qualley like an influencer on a sponsored trip- New York Magazine (Vulture)
- Posted Oct 17, 2022
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Reviewed by
Bilge Ebiri
Green, despite having co-written and directed all of the entries in this most recent crop of Halloween sequels, isn’t really a horror guy. He doesn’t seem to have the precision and rhythm required to truly shock us. Luckily, with Halloween Ends, he’s found a way to make one of these movies his own, sans scares but with tons of atmosphere and a sense of queasy, gathering dread.- New York Magazine (Vulture)
- Posted Oct 17, 2022
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Reviewed by
Bilge Ebiri
We know where Tár is headed from pretty much its opening scenes, but that doesn’t mean that the film shouldn’t still surprise and shock us. Luckily, this is where Blanchett comes in, turning the movie from a moderately interesting and topical one into something quite beautiful. She brings the energy and the sensation that much of the rest of the film lacks.- New York Magazine (Vulture)
- Posted Sep 3, 2022
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Reviewed by
Alison Willmore
For all Eichner’s intentions to make history with the movie, it’s at its best when it frees itself from representing anything more than two characters falling in love. That gives us more space to laud its pioneering work in putting awkward foursomes onscreen, anyway.- New York Magazine (Vulture)
- Posted Oct 2, 2022
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- New York Magazine (Vulture)
- Posted Sep 21, 2022
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Reviewed by
Alison Willmore
The Banshees of Inisherin is like watching two cars slowly set out on a collision course ending in a crash that would be easily averted if one would just give way. But it’s also a caustic masterstroke of anti-romanticism, a counter to every starry-eyed screen portrait (often made by an American) of rural Ireland as a verdant sanctuary of close traditions, quirky characters, and a more authentic way of life.- New York Magazine (Vulture)
- Posted Sep 16, 2022
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Reviewed by
Alison Willmore
The most interesting parts of this baggy, inevitably indulgent, and often spectacular work find him grappling with the idea of putting himself onscreen versus adapting part of his life into the stuff of a movie.- New York Magazine (Vulture)
- Posted Sep 15, 2022
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Reviewed by
Alison Willmore
Lawrence and Henry have a warm, natural chemistry, and that rapport really seems to guide where the movie ends up, instead of the other way around.- New York Magazine (Vulture)
- Posted Sep 14, 2022
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Reviewed by
Alison Willmore
Glass Onion is bigger and more precisely designed than Knives Out, but what makes it a more satisfying movie is that it sits with its characters more rather than immediately showing off their decay.- New York Magazine (Vulture)
- Posted Sep 11, 2022
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Reviewed by
Alison Willmore
It doesn’t water down her voice. Instead, the self-lacerating, self-consumed filmmaker seems liberated by the act of adaptation, as though tempering her distinctive creative impulses gives her rein to make a movie that’s tender and more broadly crowd-pleasing, while still very much her own.- New York Magazine (Vulture)
- Posted Sep 11, 2022
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Reviewed by
Roxana Hadadi
The people who maintain the status quo are those with power, and those with power are often unwilling to share: with those who are weaker, with those who are younger, with those who are other. The propulsive energy of the film is driven both by that injustice and by the scars it leaves on places and on people, and so the horror, the horror, of Saloum is both timeless and timely.- New York Magazine (Vulture)
- Posted Sep 9, 2022
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Reviewed by
Bilge Ebiri
The movie gathers force as it proceeds and delivers one final shock toward the end. It’s not a twist, exactly, but rather a development that makes you reconsider what you’ve just seen — suggesting that those who sometimes seem to care the least about the world are, secretly, the ones most overwhelmed by it.- New York Magazine (Vulture)
- Posted Sep 8, 2022
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Reviewed by
Bilge Ebiri
Blonde is beautiful, mesmerizing, and, at times, deeply moving. But it’s also alienating — again, by design — constantly turning the camera on the viewer, sometimes with Marilyn directly addressing it. That’s going to be a tough sell, especially for a film that’s so nonlinear and elliptical.- New York Magazine (Vulture)
- Posted Sep 8, 2022
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Reviewed by
Bilge Ebiri
Once everything finally collides in The Whale, something shattering and beautiful and honest emerges.- New York Magazine (Vulture)
- Posted Sep 5, 2022
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Reviewed by
Bilge Ebiri
Its subject is timely but its presentation is timeless — it’s a war movie, a family drama, a Greek tragedy.- New York Magazine (Vulture)
- Posted Sep 2, 2022
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Reviewed by
Bilge Ebiri
White Noise is certainly uneven — wildly so, probably by design — but it’s also never boring, always eager to throw something new at the viewer, and it’s eager to entertain. I never imagined I’d laugh so hard while watching a movie adaptation of Don DeLillo’s White Noise.- New York Magazine (Vulture)
- Posted Sep 1, 2022
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Reviewed by
Bilge Ebiri
It’s a perfect role for Bardem, who has always exuded a kind of natural authority and calm. Every line reading is measured without feeling rehearsed. (He’s a great performer, but that wonderfully solid, anvil-shaped profile of his helps, too. Plus, he gets to indulge his fondness for ridiculous wigs again.)- New York Magazine (Vulture)
- Posted Aug 26, 2022
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Reviewed by
Bilge Ebiri
Three Thousand Years of Longing is indeed a cautionary tale, but it’s a complex, beautiful one, suggesting that love, longing, and loss are all parts of a vast, wondrous life.- New York Magazine (Vulture)
- Posted Aug 26, 2022
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Reviewed by
Bilge Ebiri
Yes, it’s all illogical and silly: Lions don’t behave this way, and humans tend to be better at self-preservation than such movies would have us believe. But if everybody always acted correctly, we wouldn’t have movies like Beast, and that’d be no fun at all.- New York Magazine (Vulture)
- Posted Aug 19, 2022
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Reviewed by
Alison Willmore
Sure, the vertiginous shots up the side of the tower are stomach-turning, but what’s really satisfying is the message that sometimes it’s better just to stay home. It’s Fall, get it? Summer is over.- New York Magazine (Vulture)
- Posted Aug 14, 2022
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Reviewed by
Alison Willmore
Emily moves among immigrants, fellow ex-cons, and people like Youcef who are striving toward some sort of financial legitimacy, even as she moves in the other direction. But she doesn’t show any sense of commonality with them, only fury that she’s been made to join them, which is the film’s most astringent aspect.- New York Magazine (Vulture)
- Posted Aug 12, 2022
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Alison Willmore
The film itself is just fine, a nimbly directed but clunkily scripted action movie that follows a young Comanche woman named Naru (Legion’s Amber Midthunder) who aspires to defy the gendered roles in her community and become a hunter. But the concept is liberating,- New York Magazine (Vulture)
- Posted Aug 4, 2022
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Reviewed by
Bilge Ebiri
Bullet Train feels like someone crossbred Kill Bill with a Final Destination movie. And at times, David Leitch’s film is almost as glorious as that description makes it sound — elaborate and ridiculous but dedicated to making the elaborate and the ridiculous feel … well, not plausible, exactly, but certainly compelling and fun.- New York Magazine (Vulture)
- Posted Aug 3, 2022
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Reviewed by
Bilge Ebiri
It’s all supremely touching and evocative without ever feeling too on-the-nose or heavy-handed.- New York Magazine (Vulture)
- Posted Jul 29, 2022
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Reviewed by
Bilge Ebiri
About halfway through Resurrection, Rebecca Hall delivers a nearly eight-minute monologue about her character’s past that is so riveting, so mystifying and terrifying that you shouldn’t be surprised if it shows up in every acting class sometime in the near future.- New York Magazine (Vulture)
- Posted Jul 29, 2022
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Roxana Hadadi
Akl and Clara Roqet’s script provides depth to these characters and immerses us in each of their perspectives and relationships — which shift along lines of blood and love.- New York Magazine (Vulture)
- Posted Jul 22, 2022
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Reviewed by
Alison Willmore
Nope is a work of sly devastation from writer-director Jordan Peele.- New York Magazine (Vulture)
- Posted Jul 20, 2022
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Reviewed by
Bilge Ebiri
Unlike many modern-day animated films, which find inspiration in fantasy and present us with unique, fanciful designs, the world of The Sea Beast is so realistically rendered, so detailed and physical, that much of the time it feels like a live-action adventure. It’s so thoroughly immersive it might make you believe in sea monsters.- New York Magazine (Vulture)
- Posted Jul 13, 2022
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Reviewed by
Alison Willmore
There is something exquisitely grown-up about Both Sides of the Blade, which works its way up into a series of excruciating fights between Jean and Sara in which they talk and talk and wound one another terribly while failing to ever say what they really mean.- New York Magazine (Vulture)
- Posted Jul 11, 2022
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Bilge Ebiri
Kusijanović conveys all this through the way her actors move against and look at one another. That’s filmmaking of the highest order — intimate and gripping.- New York Magazine (Vulture)
- Posted Jul 11, 2022
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Alison Willmore
Elvis is bloated, hectic, ridiculous, and utterly shameless in all it glosses over to present its thesis on Presley as a talent too beautiful for this earth — the Christ of show business, sacrificed to our rapacious desires and the cruelties of capitalism at the age of 42. And you know what? I liked it, though my corneas did feel a little crunchy afterward.- New York Magazine (Vulture)
- Posted Jun 24, 2022
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Alison Willmore
Its most impressive trick is its underlying warmth, its understanding of the vulnerability and fallibility of its supposedly fearless artists and preening industry experts as well as of the downtrodden writer standing just on the outskirts, trying his best not to let anyone see how much discomfort he’s in.- New York Magazine (Vulture)
- Posted Jun 24, 2022
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Bilge Ebiri
Marcel the Shell With Shoes On is the most unassuming and delicate of movies, but don’t be shocked if it leaves you in ruins.- New York Magazine (Vulture)
- Posted Jun 24, 2022
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Alison Willmore
Good Luck to You, Leo Grande is a boundlessly generous and frequently surprising two-hander.- New York Magazine (Vulture)
- Posted Jun 17, 2022
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Bilge Ebiri
Here is a place, then, where everyone does as they’re told, and beneath its placid surfaces, its lush setting and clean spaces, lies a deep moral decay. This is a common theme in science fiction, but on film it’s rarely been presented as entertainingly and thoughtfully as it is in Spiderhead.- New York Magazine (Vulture)
- Posted Jun 16, 2022
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Bilge Ebiri
Giannoli knows exactly which buttons to push and for how long. He takes what could have been a fussy adaptation of a dusty tome and turns it into something hugely entertaining.- New York Magazine (Vulture)
- Posted Jun 14, 2022
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Bilge Ebiri
Hustle works, and it works beautifully, thanks to Sandler’s commitment.- New York Magazine (Vulture)
- Posted Jun 10, 2022
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Roxana Hadadi
Neptune Frost is a mission statement by way of a musical, and its defining image is a middle finger taking up the whole lens.- New York Magazine (Vulture)
- Posted Jun 6, 2022
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Reviewed by
Bilge Ebiri
To call Benediction a biopic would be giving biopics a bit too much credit. They don’t deserve Benediction.- New York Magazine (Vulture)
- Posted Jun 3, 2022
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Reviewed by
Alison Willmore
Fire Island is, in other words, a reluctant romantic comedy that’s willing to acknowledge the genre’s shopworn pleasures while only begrudgingly indulging them itself. All of its best parts — and there are plenty — exist outside of that framing, which raises the question of why it’s there at all except as a means of wrestling with its author’s ambivalence about the conventional wisdom that a happy ending is the result of a pairing off.- New York Magazine (Vulture)
- Posted Jun 3, 2022
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Roxana Hadadi
Bob’s Burgers patently rejects cynicism, and The Bob’s Burgers Movie is no different. It’s a pleasantly unchallenging expansion of the family-friendship-loyalty worldview that Bouchard and the Belchers have made their own.- New York Magazine (Vulture)
- Posted May 27, 2022
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Alison Willmore
What it is, really, is a showbiz satire about media ownership and our nostalgia fixation, though it muddles its message before the tone gets too scathing. It is, after all, still a Disney movie, even if it takes a perverse pleasure in playing around with Disney’s vast catalogue of characters.- New York Magazine (Vulture)
- Posted May 20, 2022
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Jen Chaney
The whole movie-making story line is the most fun part of A New Era and gives Fellowes, who wrote the script, and director Simon Curtis an opportunity to do what Downton Abbey has always done best: explore class distinctions and how those boundaries are constantly changing.- New York Magazine (Vulture)
- Posted May 19, 2022
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Alison Willmore
All of the miseries that are revealed as the two men go about their day may be bleak, but the humor comes from the small indignities inflicted on them even as they try to go out with a bang.- New York Magazine (Vulture)
- Posted May 13, 2022
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Roxana Hadadi
There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.- New York Magazine (Vulture)
- Posted May 12, 2022
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Bilge Ebiri
There’s an unflinching, near-clinical relentlessness to the picture, but therein lies its compassion and empathy.- New York Magazine (Vulture)
- Posted Apr 29, 2022
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Bilge Ebiri
In the end, Memory’s greatest asset might be that it knows exactly what it is — a fun combination of sleazoid action and surprising emotion. It’s the best kind of B-movie.- New York Magazine (Vulture)
- Posted Apr 29, 2022
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Bilge Ebiri
In its broad strokes, The Unbearable Weight of Massive Talent is a fairly by-the-numbers action comedy, one that sometimes wears Cage’s presence like a talisman against the bad juju of slipshod storytelling. But the talisman works because the film never loses sight of its touchingly nutty premise and because Cage remains a compelling actor.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Alison Willmore
The mechanics of Sciamma’s film are simple, but they’re realized so delicately, and with the help of such unaffected child performances, that they feel miraculous.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Alison Willmore
The Northman doesn’t invite its viewers into its world, but instead dares them to try to catch up.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Angelica Jade Bastien
Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine.- New York Magazine (Vulture)
- Posted Apr 13, 2022
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Alison Willmore
More than anything, Aline feels like a kamikaze act of wish fulfillment, wildly indulgent but so deeply committed to what it’s doing that it can’t help but be compelling.- New York Magazine (Vulture)
- Posted Apr 8, 2022
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Roxana Hadadi
When Kurzel does penetrate the unkempt veil of Jones’s hair and closes in on his face, it’s to capture how the actor sprints from one emotion to another, alluding to the impetuousness and spontaneity at play within Nitram.- New York Magazine (Vulture)
- Posted Apr 4, 2022
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Bilge Ebiri
Freed from the shackles of elaborate world-building or jokey, family-friendly tentpole-dom, this is a tight, brisk little over-the-top thriller, with plenty of atmosphere, effective jump scares, and a couple of genuinely moving performances at its heart.- New York Magazine (Vulture)
- Posted Apr 1, 2022
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Alison Willmore
Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.- New York Magazine (Vulture)
- Posted Mar 29, 2022
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Bilge Ebiri
One of the pleasures of a film like this is the knowledge that a new fold is always coming. Seen in that light, occasional narrative implausibilities (of both the psychological and physical kind) recede into the distance. The Outfit is imperfect, but it works perfectly.- New York Magazine (Vulture)
- Posted Mar 20, 2022
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Alison Willmore
Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.- New York Magazine (Vulture)
- Posted Mar 19, 2022
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Bilge Ebiri
What makes Ahed’s Knee so powerful is the way the movie detonates before our eyes.- New York Magazine (Vulture)
- Posted Mar 18, 2022
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Alison Willmore
Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang).- New York Magazine (Vulture)
- Posted Mar 12, 2022
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Bilge Ebiri
Abu-Assad has made his share of films about the cruel absurdity of life under Israeli occupation, but here he lets all sides have it- New York Magazine (Vulture)
- Posted Mar 4, 2022
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Alison Willmore
After Yang has the structure of a subdued mystery, though at its core it has no answers to these, or any, questions. Instead, it provides a slowly dawning and utterly devastating understanding of the hidden richness of its title character’s existence.- New York Magazine (Vulture)
- Posted Mar 4, 2022
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Bilge Ebiri
Reeves loves these dead-end apocalyptic environments, and delights in tales that toy with the moral calculus of typical hero narratives. He has given us a Batman that he himself can believe in, not to mention a Batman that feels right for our times.- New York Magazine (Vulture)
- Posted Feb 28, 2022
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