The movie works because it has the Mary Shelley story to lean on: we know that the monster will be created and will get loose. And Brooks makes a leap up as a director because, although the comedy doesn’t build, he carries the story through.
The New Yorker
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.
by Pauline Kael In Tim Burton’s Edward Scissorhands, the towers and spires of a medieval castle rise high in the air right out of the
The movie—Costner’s debut as a director—is childishly naïve. When Lieutenant Dunbar is alone with his pet wolf, he’s like Robinson Crusoe on Mars. When he tries to get to know the Sioux, and he and they are feeling each other out, it’s like a sci-fi film that has the hero trying to communicate with an alien race.
The movie is a disgrace: an ugly, incoherent, dishonest piece of work. The original picture, directed by a skillful journeyman, J. Lee Thompson, is memorable without being especially artful.
Pauline Kael reviews Paul Schrader’s “Hardcore”
Pauline Kael reviews John Carpenter’s “Halloween”
Pauline Kael’s review of ‘Dead Poets Society’ (1989) by Peter Weir
Pauline Kael reviews Tim Burton’s Batman. Publishe in The New Yorker, July 10, 1989
Ian Parker’s profile of Christopher Hitchens. Published by The New Yorker magazine
The following review, one of the most renowned in the history of film criticism, appeared in The New Yorker magazine on October 28, 1972
When you come out of the theatre after seeing David Lynch’s Blue Velvet, you certainly know that you’ve seen something. You wouldn’t mistake frames from Blue Velvet for frames from any other movie. It’s an anomaly—the work of a genius naif.
Jeremy Bernstein’s 1966 profile of director Stanley Kubrick
This mediocre movie seems destined to be a tidal wave of a hit. Spielberg, who was perhaps the greatest of all pure, escapist movie directors, is being acclaimed for turning into a spiritual simp.
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”
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