The Current Cinema News, Opinion, and Analysis—The New Yorker
“Nope” Is a Wild but Self-Aware Mashup of Sci-Fi and Westerns
The spaceship in Jordan Peele’s film absorbs material and then spews it out, an apt metaphor for the director’s follow-up to “Get Out” and “Us.”
July 22, 2022
The Generational Anxieties of “The Truth”
Trouble may be brewing between a mother and a daughter (Catherine Deneuve and Juliette Binoche), but the director Hirokazu Kore-eda’s approach is elliptical to a fault.
March 13, 2020
The Alluring Promises of “The Burnt Orange Heresy” and “The Whistlers”
In both films, what appears to be consensual intimacy is an act of deliberate carnal deceit.
February 28, 2020
Watching “The Call of the Wild” with an Audience of Dogs
The opportunity to see a pug fall into a bucket of popcorn doesn’t come along that often, and you should grab it with both paws.
February 21, 2020
Harley Quinn Isn’t the Most Criminal Thing in “Birds of Prey”
Aiming to celebrate empowerment, the comic-book villain instead stumbles toward sadism.
February 7, 2020
“The Gentlemen” Is a Nasty Piece of Work
Guy Ritchie’s new film is baiting us, praying that we will take offense, and challenging us to flinch.
January 24, 2020
A Hundred Years of Fellini
Feeding hungrily on the fruits of memory, the director summoned worlds to comply with his imaginings.
January 17, 2020
Paris on the Brink in “Les Misérables”
In Ladj Ly’s film, set in a tough suburb, even everyday scenes vibrate with a sense that things are about to explode.
January 3, 2020
Greta Gerwig’s Raw, Startling “Little Women”
What emerges from Gerwig’s adaptation is a strong sense that indignation is not just the natural lot of women but their rousing right.
December 25, 2019
“Bombshell” and the Perils of Topicality
Memorable acting conveys the full horror of Roger Ailes’s sexual abuse at Fox News, but the over-all narrative feels hasty and undigested.
