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J. Hoberman

United States

(1949)

Mandabi (1968)

Publish Date: January 12, 2021
"[It] rich in detail, a feast for the eyes and ears"

The New York Times
Pandora and the Flying Dutchman (1951)

Publish Date: February 4, 2020
"[It] still casts a spell (...) A staid yet outlandish star-vehicle that is also an exercise in by the book surrealism"

The New York Times
The White Sheik (1952)

Publish Date: December 23, 2019
"The most charming, least overweening film Fellini ever made"

The New York Times
Olivia (The Pit of Loneliness) (1951)

Publish Date: August 14, 2019
"A fascinating study of love and repression"

The New York Times
Beat the Devil (1953)

Publish Date: March 28, 2019
"A film whose supposed shortcomings are actually its appealing qualities"

The New York Times
Daughter of the Nile (1987)

Publish Date: October 23, 2017
"'Daughter of the Nile' is sometimes baffling but always beautiful. There are moments (...) that however they defy understanding are quietly heartbreaking."

The New York Times
The Old Dark House (1932)

Publish Date: October 4, 2017
"An extremely credible entertainment that, creaking along at a smart pace, applauds itself with shrieks, thuds and thunderclaps."

The New York Times
The Tragedy of Othello: The Moor of Venice (1951)

Publish Date: September 28, 2017
"Something odder than a masterpiece, Orson Welles’s 'Othello' is at once a credible abridgment of Shakespeare and a jigsaw puzzle that nearly defies comprehension (...) [A] brilliant, confounding movie"

The New York Times
Léon Morin, Priest (1961)

Publish Date: May 10, 2017
"A gripping movie, and also a great one."

The New York Times
Triumph of the Will (1935)

Publish Date: March 2, 2016
"Brilliant, tedious and irredeemably evil, Leni Riefenstahl’s 'Triumph of the Will' (1935) is one of the great conundrums of cinema history."

The New York Times
Dressed to Kill (1980)

Publish Date: October 20, 2015
"De Palma has made more coherent movies than 'Dressed to Kill' (...) but few have been so technically accomplished, felt more personal or raised more hackles"

The New York Times
The Killers (1946)

Publish Date: July 29, 2015
"[It] uses its brilliant opening scenes to dramatize the complete Hemingway story almost verbatim (...) Siodmak established himself as the leading stylist of what was not yet known as film noir"

The New York Times
The Silence of the Sea (1949)

Publish Date: May 20, 2015
"The movie is powerfully repetitive"

The New York Times
The Lady From Shanghai (1947)

Publish Date: April 16, 2015
"'The Lady From Shanghai' is fueled by two powerfully grotesque characterizations (...) At once fluid and discordant, 'The Lady From Shanghai' is filled with virtuoso set pieces."

The New York Times
A Day in the Country (1946)

Publish Date: March 19, 2015
"A movie whose incomplete aspects only accentuate its freshness and spontaneity"

The New York Times
The Bitter Tears of Petra von Kant (1972)

Publish Date: March 5, 2015
"'Petra' provokes a profound ambivalence. The extravagant posturing and extreme histrionics inspire a laughter that is stifled by the movie’s brute emotional candor."

The New York Times
Phantom Lady (1944)

Publish Date: July 5, 2012
"[It] has a nightmarish quality and dreamlike flow that transcends the banality of its script"

The New York Times
La Commune (Paris 1871) (2000)

Publish Date: December 13, 2011
"Watkins’ six-hour masterpiece is contagiously exciting"

Village Voice
The Circus (1928)

Publish Date: June 21, 2011
"Chaplin’s last pure silent is also his most formally complex (...) The movie has never fully achieved its stature with audiences."

Village Voice
Taxi Driver (1976)

Publish Date: March 15, 2011
"[It] still stuns (...) 'Taxi Driver' was a powerfully summarizing work. It synthesized noir, neorealist, and New Wave stylistics"

Village Voice

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