No other film has ever dramatized urban indifference so powerfully; at first, here, it’s horrifyingly funny, and then just horrifying.
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’
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
Religious Pulp, or the Incredible Hulk by Pauline Kael As Jake la Motta, the former middleweight boxing champ, in Raging Bull, Robert De Niro wears
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.
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.
Penelope Gilliatt’s review of “2001: A Space Odyssey”, by Stanley Kubrick. Published in the New Yorker magazine
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