The following review, one of the most renowned in the history of film criticism, appeared in The New Yorker magazine on October 28, 1972
by Pauline Kael “Maybe I’m sick, but I want to see that again.” —Overheard after a showing of Blue Velvet. When you come out of the theatre...
by Pauline Kael There is a brief passage in Ingmar Bergman's Persona - Bibi Andersson tells about a day and night of sex - that...
by Pauline Kael A friend of mine who’s in his early fifties and is eminent in his field says that when he grows up he...
by Pauline Kael At the end of The Godfather Part II (1974), the story was complete—beautifully complete. Francis Ford Coppola knew it, and for over...
by Pauline Kael Martin Scorsese’s GoodFellas has a lift. It’s like Raging Bull, except that it’s not domineering. It’s like Raging Bull made in a...
Pauline Kael reviews Sam Peckinpah's "Convoy"
Shoeshine, written by Cesare Zavattini, is a social protest film that rises above its purpose. It is a lyric study of how two boys betrayed by society betray each other and themselves
Pauline Kael reviews "Planet of the Apes", a 1968 science fiction film directed by Franklin J. Schaffner. Published in 'The New Yorker', February 17,1968
Pauline Kael reviews Sergio Leone's "The Good, the Bad and the Ugly". Published in 'The New Yorker', March 2, 1968
Pauline Kael's review of 'Superman' (1978). Published in 'The New Yorker', January 1, 1979
Pauline Kael reviews George Lucas' Star Wars. Published in 'The New Yorker', September 26, 1977
by Pauline Kael Taxi Driver is the fevered story of an outsider in New York—a man who can’t find any point of entry into human...
Pauline Kael reviews Luchino Visconti's 'The leopard' (Il Gattopardo). Published in The New Yorker, September 19, 1983
Pauline Kael reviews Brian De Palma's 'Scarface'
Pauline Kael reviews Federico Fellini's '8½'
by Pauline Kael The marketing executives are the new high priests of the movie business. It's natural. They’re handling important sums of money. And they...
by Pauline Kael As Jake la Motta, the former middleweight boxing champ, in Raging Bull, Robert De Niro wears scar tissue and a big, bent...
Pauline Kael reviews Oliver Stone's "Platoon". Published in "The New Yorker", January 12, 1987
Chances are that when Stanley Kubrick’s Vietnam film Full Metal Jacket is at midpoint a lot of moviegoers will be asking themselves what it’s going to be about, and when it’s over they still won’t know.
Kubrick literally learned to stop worrying and love the bomb; he’s become his own butt—the Herman Kahn of extraterrestrial games theory
How do you make a good movie in this country without being jumped on? Bonnie and Clyde is the most excitingly American American movie since The Manchurian Candidate.
Blade Runner doesn’t engage you directly; it forces passivity on you. It sets you down in this lopsided maze of a city, with its post-human feeling, and keeps you persuaded that something bad is about to happen.
Pauline Kael's review of Stanley Kubrick's Lolita is one of her best—inspired, incisive, exuberant
Sergio Leone's Once upon a time in America reviewed by Pauline Kael
Pauline Kael's appreciative but skeptical review of Stanley Kubrick's "The Shining", The New Yorker, 1980
Review of Stanley Kubrick's "A Clockwork Orange" written by Pauline Kael and published in The New Yorker, January 1, 1972
Review of Stanley Kubrick's Barry Lyndon, written by Pauline Kael and published in The New Yorker, December 29, 1975
Review of Michael Cimino's The Deer Hunter, written by Pauline Kael and published in The New Yorker, December 18, 1978