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David Denby

Film Critic

United States

American Sniper (2014)

Publish Date: December 22, 2014
"Both a devastating war movie and a devastating antiwar movie (...) The movie has the troubled ambivalence about violence that has shown up repeatedly in Eastwood’s work"

The New Yorker
Diplomacy (2014)

Publish Date: October 27, 2014
"The principal suspense in this fascinating movie is generated by the polite, and then not so polite, ferocity of the arguments between the two men."

The New Yorker
Third Person (2013)

Publish Date: June 23, 2014
"'Third Person' is the kind of eccentric and emotionally exhausting movie whose ardent sincerity remains in memory after smoother, more conventional works have passed into oblivion"

The New Yorker
Frenzy (1972)

Publish Date: March 24, 2014
"A masterpiece devoted to appetite in all its varieties—but it is most seriously devoted to the perversion of sexual happiness in murder and to the absence of sexual happiness in 'normal' life."

The New Yorker
The Great Gatsby (2013)

Publish Date: May 6, 2013
"Luhrmann's vulgarity is designed to win over the young audience, and it suggests that he's less a filmmaker than a music-video director with endless resources and a stunning absence of taste"

The New Yorker
The Place Beyond the Pines (2012)

Publish Date: April 1, 2013
"The movie, which holds your attention from moment to moment, by the end leaves you grasping for the experience you haven't had."

The New Yorker
Smiley’s People (TV Miniseries) (1982)

Publish Date: February 28, 2012
"[Guinness'] performance is one of the great literary-cinematic creations of the post-war era, an actor’s masterpiece"

The New Yorker
The Skin I Live In (2011)

Publish Date: October 17, 2011
"As a piece of design, 'The Skin I Live In' is exceptionally handsome (...) a textbook of expository technique, but it’s all craft and shine; it is the least enjoyable of Almodóvar’s films, a movie that is serious without being intelligent."

The New Yorker
Heartbreaker (2010)

Publish Date: September 13, 2010
"'Heartbreaker', which begins as a Hollywood-style caper and turns into a romantic comedy, is no more than a luxurious trifle. But it is also enjoyable for the vast difference in temperament between its two stars"

The New Yorker
Vicky Cristina Barcelona (2008)

Publish Date: August 11, 2008
"'Vicky Cristina Barcelona' has a natural, flowing vitality to it, a sun-drenched splendor that never falters."

The New Yorker
The Dark Knight (2008)

Publish Date: July 14, 2008
"[It] keeps you on edge and sends you out onto the street with post-movie stress disorder (...) The narrative isn’t shaped coherently to bring out contrasts and build toward a satisfying climax."

The New Yorker
Iron Man (2008)

Publish Date: May 5, 2008
"[Downey Jr.] can make offhandedness mesmerizing, even soulful (...) There’s a slightly depressed, going-through-the-motions feel to the entire show"

The New Yorker
Street of Shame (1956)

Publish Date: April 14, 2008
"Of all the films about prostitution, Kenji Mizoguchi’s 'Street of Shame' (...) is perhaps the greatest (...) The scenes are terse, definitive, heartbreaking"

The New Yorker
Gone Baby Gone (2007)

Publish Date: October 22, 2007
"Ben Affleck probably respects Lehane the genre writer, more than he should. He also has some way to go before he becomes a good director of action"

The New Yorker
The Nanny Diaries (2007)

Publish Date: September 3, 2007
"A flabby urban fairy tale"

The New Yorker
Mildred Pierce (1945)

Publish Date: April 16, 2007
"Crawford’s performance is convincing and intelligent, and the bitterness feels genuine"

The New Yorker
Zodiac (2007)

Publish Date: March 19, 2007
"'Zodiac' is superbly made, but it’s also a strange piece of work"

The New Yorker
The Wind that Shakes the Barley (2006)

Publish Date: March 19, 2007
"[It] is a beautifully realized work and perhaps Loach’s best film (...) A sombrely beautiful dream of the violent Irish past"

The New Yorker
The Good Shepherd (2006)

Publish Date: December 17, 2006
"One of the most impressive movies ever made about espionage."

The New Yorker
King Kong (2005)

Publish Date: December 11, 2005
"[It] is high-powered entertainment, but Jackson pushes too hard and loses momentum over the more than three hours of the movie. The story was always a goofy fable—that was its charm—and a well-told fable knows when to stop."

The New Yorker

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