The New Yorker

Richard Brody The New Yorker Oct 28, 2026 For all the film’s distractions, omissions, and short-circuits, Hammer displays a keen eye for devastating ironies, for clearly and plainly imagined events that don’t merely turn the tables but overturn them. Go to Full Review Queen at Sea (2026) 91% - -

Justin Chang The New Yorker Oct 28, 2026 Possible Love is a multitasking marvel: a drama about the fragility of unions, in every sense, wrapped in a seminar on documentary ethics, but one with implications for the fiction realm, too. Go to Full Review Possible Love (2026) 100% - -

Richard Brody The New Yorker Oct 22, 2026 Pawlikowski’s camera reduces the figures and voices, in order to fit them into his own rigidly molded spaces. The characters are petrified like specimens, expressing and embodying only what fits into the film’s design. Go to Full Review Fatherland (2026) 93% - -

Pauline Kael The New Yorker Oct 19, 2026 What’s increasingly missing from Kubrick’s work is the spontaneity, the instinct, the lightness that would make us respond intuitively. We’re starved for pleasure at this movie. Go to Full Review The Shining (1980) 74% 90%

Richard Brody The New Yorker Oct 15, 2026 For all the unpleasantness of its backstory, its confrontations, its outcomes, and even, at times, Fielder’s own behavior, the film is more than fascinating and ingenious; it’s strangely, poetically, poignantly beautiful. Go to Full Review You Can See Everything (2026) 96% - -

Justin Chang The New Yorker Oct 14, 2026 Misty Green is a small yet principled corrective to the larger problem it diagnoses: it’s a terrific vehicle for a Black actress who knows how few terrific or even good vehicles there are for Black actresses. Go to Full Review Misty Green (2026) 61% - -

Pauline Kael The New Yorker Oct 14, 2026 This may be the best-paced and most slyly entertaining of all the decadent-ancient-Rome spectacular films. Go to Full Review Spartacus (1960) 89% 87%

Pauline Kael The New Yorker Oct 13, 2026 Stanley Kubrick had made two pictures before this one, but they were juvenilia; this shrewdly worked out suspense film, which he made at the age of 27, is the real beginning of his career. Go to Full Review The Killing (1956) 96% 92%

Richard Brody The New Yorker Oct 8, 2026 Sorkin’s images aren’t conceived or imagined; they’re mere recordings of the actors’ performances. The film suggests no pleasure in seeing, no curiosity. Sorkin doesn’t look beyond the words on the page, and the film itself appears made with heads down. Go to Full Review The Social Reckoning (2026) 54% - -

Richard Brody The New Yorker Oct 1, 2026 There’s no room for impulse or surprise; “Verity” is smothered in good taste and aspirational dignity, and not even an incompetent crime investigation is as ridiculous as such airs. Go to Full Review Verity (2026) 31% - -

Justin Chang The New Yorker Oct 1, 2026 Iñárritu’s technique transcends gimmickry. The sense of a continuous, organic form, which he chased so aggressively in “Birdman,” springs to life here in all manner of unintended ways. Go to Full Review Digger (2026) 53% - -

Richard Brody The New Yorker Sep 29, 2026 The filmmaker Mary Stephen, a Hong Kong-born, ethnic-Chinese filmmaker, indeed explores the mystery of her own name. Her fascinating, playful quest involves the tangled background of her father, Henry Stephen. Go to Full Review Palimpsest: The Story of a Name (2025) - - - -

Justin Chang The New Yorker Sep 29, 2026 Oppenheim zooms in on his characters so intently that he seems ready to claw their faces off, the better to penetrate through to their darkest depths. But what would he find? Pattinson’s dazzlingly contoured performance doesn’t provide any easy answers. Go to Full Review Primetime (2026) 86% - -

Richard Brody The New Yorker Sep 24, 2026 The literal darkness in which sources speak in “NAZA” turns the screen into a mirror of subjectivity, putting viewers face to face with their motives, their responsibilities, their identities. Go to Full Review NAZA (2026) 100% - -

Richard Brody The New Yorker Sep 22, 2026 I wasn’t enthusiastic about the show’s sense of faux-magpie messaging... The movie, by contrast, is rich in an authentic sense of discovery, not least because its titular subject, superficially banal, is also profoundly and strangely universal. Go to Full Review The History of Concrete (2026) 97% - -

Justin Chang The New Yorker Sep 12, 2026 Whatever Greengrass’s flaws as a spinner of historical tales, an uncertainty about exactly what story he’s telling has never been one of them -- until now. Go to Full Review The Uprising (2026) 57% - -

Richard Brody The New Yorker Sep 8, 2026 In most other films, these narrow constraints would be unequivocal failings. But in “The Sun Never Sets” they’re features, not bugs. The perspective sustained throughout isn’t that of any one character but that of Swanberg himself Go to Full Review The Sun Never Sets (2026) 78% - -

Richard Brody The New Yorker Sep 4, 2026 There's a tendency all too common in crime dramas that I'm tempted to call convenient incompetence... In a way, it feels churlish to pick at By Any Means for this, because, at its best moments, it honors the exalted struggles that it dramatizes. Go to Full Review By Any Means (2026) 49% - -

Justin Chang The New Yorker Sep 4, 2026 The movie has a goofy, galumphing beauty; it’s a bigger, dumber, shinier object than its predecessors, yet it also manifests the crudely violent small-town comedy that is one of Na’s signatures. Go to Full Review Hope (2026) 80% - -

Richard Brody The New Yorker Sep 2, 2026 The film is a teeming, turbulent, confrontational meld of emotion and observation, placing the eruptive pressure of societal conflict amid the seeming trivia of social life. Go to Full Review Days and Nights in the Forest (1970) 100% 97%