The New York Review of Books

Anna Shechtman The New York Review of Books Oct 4, 2026 ...Dracula compels thought in the space of its absence. Go to Full Review Dracula (2025) 71% - -

Anna Shechtman The New York Review of Books Oct 4, 2026 Kontinental ’25 makes us contemplate a world in need of a systemic analysis that none of its inhabitants can supply. Go to Full Review Kontinental '25 (2025) 92% - -

Jonathan Lethem The New York Review of Books Oct 4, 2026 The amplitude, the riot and hoot, the tonal and vehicular swerves and collisions of One Battle After Another make for cineplex joy. Go to Full Review One Battle After Another (2025) 94% - -

Geoffrey O'Brien The New York Review of Books Oct 4, 2026 Its first reel is as bravura a display of style as Spielberg has ever offered, as we watch a movie-within-a­movie of adultery, jealousy, and homicidal rage being assembled from the visions of the pre-cogs by Tom Cruise and his team of Precrime techies... Go to Full Review Minority Report (2002) 89% 80%

Ken Chen The New York Review of Books Oct 4, 2026 Gomes’s films set up a perplexing economy of pleasure. All artworks enlist their audiences to help create their meaning, but in Gomes’s case you may feel that you are laboring to produce the enjoyment of his movies, rather than the other way around. Go to Full Review Grand Tour (2024) 91% - -

Gabriel Winslow-Yost The New York Review of Books Sep 2, 2026 It is easy to get lost in Resurrection’s swarming falsities, especially on first viewing. Its menagerie of styles, stories, symbols, references, and effects seems intentionally overwhelming—a rapturous, frustrating, exhausting experience. Go to Full Review Resurrection (2025) 91% - -

Nawal Arjini The New York Review of Books Sep 2, 2026 Marty Supreme successfully recreates the conditions that made it possible for a hardheaded young man to believe he could make ping-pong a national sport... Go to Full Review Marty Supreme (2025) 93% - -

Beatrice Loayza The New York Review of Books Sep 2, 2026 Mendonça’s work at once memorializes endangered Brazilian social dynamics and mythologizes them, filtering them through the intuitive registers of style and genre. Go to Full Review The Secret Agent (2025) 98% - -

Daniel M. Lavery The New York Review of Books Sep 2, 2026 Maddie’s Secret does, I think, rely on the earnestness of the midcentury melodrama in the same way that Airplane! relies on the earnestness of Zero Hour, but it does not produce any new earnestness of its own. Go to Full Review Maddie's Secret (2025) 85% - -

J. Hoberman The New York Review of Books Sep 2, 2026 Amrum is typically described as a coming-of-age story, but it is also a children’s adventure narrative in the manner of a Grimms’ folk tale predicated on “the difficult task” (die schweren Aufgaben). Go to Full Review Amrum (2025) 98% - -

Lucas Adams The New York Review of Books Sep 2, 2026 Throughout, Green and his team provide a barrage of clever, hilarious visuals. Go to Full Review Coyote vs. Acme (2026) 96% - -

Gabriel Winslow-Yost The New York Review of Books Aug 4, 2026 ...Wolf Man simply states its theme of conflicted masculinity, then restates it again and again. Go to Full Review Wolf Man (2025) 47% - -

Gabriel Winslow-Yost The New York Review of Books Aug 4, 2026 The bright, sprightly “real world” of Murnau’s film—or even of Werner Herzog’s melancholy 1979 version—makes no appearance here. Everything is dim, cold, as if the film itself had been bled half to death before it reached the screen. Go to Full Review Nosferatu (2024) 85% - -

Michael Greenberg The New York Review of Books Jun 10, 2025 Michael Rohatyn and Peter Yost have assembled an absorbing documentary anatomizing the drama that ended with New York narrowly avoiding default. Go to Full Review Drop Dead City (2024) 92% - -

J. Hoberman The New York Review of Books Jan 15, 2025 Similarly devoid of nuance, its moral reckoning accentuated by brilliant black-and-white cinematography, Green Border is a visceral ordeal and virtuoso tumult. Go to Full Review Green Border (2023) 94% - -

Gabriel Winslow-Yost The New York Review of Books Jan 15, 2025 ...amid or perhaps beneath the chaos, the film is constructed almost entirely from clichés. Go to Full Review Megalopolis (2024) 46% - -

Anna Shechtman The New York Review of Books Jan 15, 2025 Anora is more interested in inhabiting, and reflecting on, the space between the one “right” word and the many other objectionable words for its protagonist’s job—a sign of its relay between art-house and screwball genre film. Go to Full Review Anora (2024) 93% - -

Gabriel Winslow-Yost The New York Review of Books Jan 15, 2025 Choose Love is just one episode in what seems like a long, doomed romance between incompatible forms. Go to Full Review Choose Love (2023) 30% 60%

A.S. Hamrah The New York Review of Books Jan 15, 2025 In creating sympathetic portraits of Trump and Cohn, The Apprentice can only become, by the end, a Hollywood biopic, with the oppressive blandness of the genre touched up as usual with movie-filtered period detail. Go to Full Review The Apprentice (2024) 83% - -

Merve Emre The New York Review of Books May 31, 2024 Anatomy of a Fall is not truly a story about marriage, good, bad, whatever. It is a story about how cinema can reconcile these estranged genres of prose. More prosaically, it is about how a mother needs her son, and how a son needs his mother... Go to Full Review Anatomy of a Fall (2023) 96% 90%