Vanity Fair

Tomatometer-approved publication
Rating Title/Year Author
Harriet (2019) K. Austin Collins A vaster and in many ways wilder film than it will get credit for. EDIT
Posted Sep 12, 2019
() Katey Rich It's a small-scale human story, precious few of which make it to film these days. It's also, if you're in the market for that kind of thing, an extremely effective tearjerker. EDIT
Posted Sep 11, 2019
Bad Education (2019) Richard Lawson A tidy and engrossing corruption drama. EDIT
Posted Sep 10, 2019
Jojo Rabbit (2019) K. Austin Collins Jojo Rabbit is more of a roast than a reckoning, which I suppose would be fine if it were only aiming for comedy. But this is a movie with lofty humanist ideas. EDIT
Posted Sep 10, 2019
Just Mercy (2019) Richard Lawson Just Mercy pays noble credit to a specifically remarkable man. EDIT
Posted Sep 9, 2019
Waves (2019) K. Austin Collins Waves is a movie full of strong observations, one more than adept at bringing minor chords and colors to life. EDIT
Posted Sep 9, 2019
Hustlers (2019) Richard Lawson [The Meddler] was [director Lorene] Scafaria's last effort behind the camera, and while it's a more than worthy showcase for her abundant talent, Hustlers rockets past it with mesmerizing exuberance. EDIT
Posted Sep 9, 2019
How to Build a Girl (2019) Katey Rich WInning and funny, while also a bit surface-level and predictable, it is an excellent case for the twin powers of Feldstein and Caitlin Moran, the author who adapted her own autobiographical novel to the screen. EDIT
Posted Sep 9, 2019
Dolemite Is My Name (2019) K. Austin Collins Dolemite is a movie that gives us a lot to look back on, both historically and in the case of Murphy's long life in Hollywood - but I also think we still haven't seen the extent of what Murphy can do. EDIT
Posted Sep 9, 2019
A Beautiful Day in the Neighborhood (2019) K. Austin Collins Neighborhood is full of looking, listening, understanding - fitting for a film about a man who was incredibly charismatic, slow of gesture and speech in ways that encouraged everyone around him to perform his kindness back at him. EDIT
Posted Sep 9, 2019
Knives Out (2019) Richard Lawson The film rolls and bounces with giddy elation, Johnson and his troupe of actors clearly enjoying themselves as they entertain. EDIT
Posted Sep 9, 2019
The Goldfinch (2019) Richard Lawson The Goldfinch is better than I expected it would be. And yet in clearing that bar, it bares open all the possibility that it could have been even more. EDIT
Posted Sep 8, 2019
The Personal History of David Copperfield (2019) Katey Rich It's the sort of movie that gives nearly every character a thoughtful closeup before, somewhat fantastically, bringing most of them back together at the end for a tender sendoff. EDIT
Posted Sep 6, 2019
Dave Chappelle: Sticks & Stones (2019) Laura Bradley Ultimately, though, it feels like stale work from a comedian who was once known for truly boundary-pushing comedy - the kind that actually understood nuance, particularly where famous and powerful men were concerned. EDIT
Posted Sep 6, 2019
() K. Austin Collins It's as tense and tight as a thriller, but with none of the satisfaction. EDIT
Posted Sep 4, 2019
Motherless Brooklyn (2019) K. Austin Collins I miss this kind of story - told with jazz and intrigue, coal-black streets and smoky silhouettes - and Norton's filmmaking evokes it tenderly. EDIT
Posted Sep 4, 2019
Judy (2019) K. Austin Collins The best thing about Judy, perhaps, is that while it focuses overly on the tragedy of her late career... it is nevertheless a compelling document of a woman who constantly gave of herself. EDIT
Posted Sep 3, 2019
() Richard Lawson There's something indulgent about its many digressions, a dinner party guest yammering on and on rather than getting to the point. EDIT
Posted Sep 3, 2019
Ford v Ferrari (2019) K. Austin Collins Ford V. Ferrari is a good ride, and a good example of what so many people are thirsty for. EDIT
Posted Sep 3, 2019
The King (2019) Richard Lawson Chalamet does robust work, straightening his lanky posture as he goes, rising up into the role like a man ascendant. EDIT
Posted Sep 3, 2019
It: Chapter Two (2019) K. Austin Collins There's nowhere else to go: history repeats itself, the film tells us. So does trauma. And so, apparently, do movies. EDIT
Posted Sep 3, 2019
Uncut Gems (2019) K. Austin Collins Classic Safdie characters are brash, volatile-as are Sandler's. Here, juiced up with an awful mustache and a personal style befitting his awful merchandise, he unleashes untold reserves of mania and panic. EDIT
Posted Sep 1, 2019
Joker (2019) Richard Lawson I've not always gotten along with Phoenix's mannered, muscle-strained approach to his craft, but here he makes a compelling case for going full-tilt. EDIT
Posted Aug 31, 2019
Ad Astra (2019) Richard Lawson Pitt's gravitational pull does a lot of work for Gray's film, which struggles to breathe in the deliberate airlessness of its design. EDIT
Posted Aug 30, 2019
Marriage Story (2019) Richard Lawson Marriage Story is enriching for all its weary insight, for the intricate ways it maps two personalities and locates them in the world. EDIT
Posted Aug 29, 2019
American Factory (2019) K. Austin Collins A mesmerizing jumble of culture and labor politics. EDIT
Posted Aug 23, 2019
One Child Nation (2019) K. Austin Collins One Child Nation does not flinch from critiquing mass complicity and the broader cultural logic - specifically the indoctrination into party politics - undergirding it. EDIT
Posted Aug 19, 2019
Adam (2019) Oliver Whitney Adam proves why it's essential for trans creatives to have a role in telling stories about their community: Ernst presents Schrag's material from a distinctly trans perspective EDIT
Posted Aug 13, 2019
The Kitchen (2019) Richard Lawson The Kitchen offers nothing redeeming to cling close to our chests, nothing warming nor interesting nor worth investing in. EDIT
Posted Aug 8, 2019
The Nightingale (2018) K. Austin Collins What's telling isn't how good or not the ending feels: what's telling is that a film like this can never feel good. You sense as much from the very opening moments of the movie. But it takes getting there, seeing it firsthand, to know it. EDIT
Posted Aug 5, 2019
Fast & Furious Presents: Hobbs & Shaw (2019) Richard Lawson What results from all that unseemly effort is a movie that is, in fits and starts, a visceral jolt, but otherwise irritates in all its antic gesture. EDIT
Posted Jul 31, 2019
Honeyland (2019) K. Austin Collins Honeyland is, like Hatidze, full of life. EDIT
Posted Jul 26, 2019
The Mountain (2018) K. Austin Collins The Mountain dredges up so much that it doesn't seem to know where to go - but the sad horror of what's at stake, particularly for Andy, nevertheless come through. EDIT
Posted Jul 26, 2019
Ray Romano: Right Here, Around the Corner (2019) Drew Fortune While there's nothing controversial or groundbreaking in Romano's set, his delivery is cozy and warm. EDIT
Posted Jul 17, 2019
Crawl (2019) Laura Bradley Its sensibilities are schlocky, but its execution is immaculate, thanks to precise pacing, a deft command of tension, and cinematography that showcases the carnage from every possible angle. EDIT
Posted Jul 15, 2019
The Art of Self-Defense (2019) K. Austin Collins A strange, uneven, but ultimately effective satire of masculinity. EDIT
Posted Jul 12, 2019
The Lion King (2019) K. Austin Collins The new Lion King isn't a disaster. It's a lesson: in what makes voice acting resonate... and in the strangeness of hearing animals emote vocally when their faces are pretty much limited to moving mouths and blinking eyes. EDIT
Posted Jul 11, 2019
Dance With a Stranger (1985) Stephen Schiff There's a very good reason to see this movie, and her name is Miranda Richardson. Dance with a Stranger is her first picture, and while her portrayal of Ruth stops just short of being great, it's undeniably virtuosic. EDIT
Posted Jul 10, 2019
Wetherby (1985) Stephen Schiff The trouble with Wetherby is that, unlike Pinter's creepy exercises, it turns out to be that dreary thing, a wellmade play: a theatrical puzzler with a solution that, when it arrives, seems at once obvious and not particularly helpful. EDIT
Posted Jul 10, 2019
Aziz Ansari: Right Now (2019) Sonia Saraiya Right Now is not all good... But whatever soul-searching or image management that Ansari has gone through since the story has made him a better performer - one who is more able to dwell in gray areas of comedy. EDIT
Posted Jul 10, 2019
Maria Bamford: Old Baby (2017) Joel Keller Old Baby shows a confidence and lightness that fans have never seen from her before. EDIT
Posted Jul 9, 2019
Yesterday (2019) K. Austin Collins Ultimately, Yesterday is a victim of the amnesia it inflicts upon its characters. EDIT
Posted Jul 1, 2019
Spider-Man: Far From Home (2019) Richard Lawson The film smirks and winks as if it's in on the fatigue, offering an illusion of cool when at heart it's as slavishly on-message as everything else. EDIT
Posted Jun 27, 2019
Midsommar (2019) Richard Lawson Midsommar is a shocking piece of filmmaking-unnervingly competent even when the film yaws into silliness, even when it risks tedium. EDIT
Posted Jun 19, 2019
() Pare Lorentz James Dunn, Cliff Edwards and a meaningless new score take some of the fun out of the original book. EDIT
Posted Jun 17, 2019
() Pare Lorentz An over-long and slap-stick adaptation of the Sidney Howard play. EDIT
Posted Jun 17, 2019
Dzhimmi Khiggins (1928) Pare Lorentz The Russian newsreel was as dull as any home-made product, and the whole thing cost a quarter more than a huge, well-ventilated and fairly clean capitalistic theatre. EDIT
Posted Jun 17, 2019
Trapeze (1932) Pare Lorentz Dupont made a talking version of Variety - called Trapeze - with the very lovely Anna Sten and some good camera work to make it entertaining. EDIT
Posted Jun 17, 2019
The Melody Lingers On (1935) Helen Brown Norden [It has] what should be an excellent cast -- Helen Westley, Laura Hope Crewes, William Harrigan, John Halliday and Mona Barrie, in addition to Miss Hutchinson -- but they don't seem lo he able to do much, as they are always falling over the plot. EDIT
Posted Jun 14, 2019
() Helen Brown Norden To us oldsters, with the memory of Douglas Fairbanks, the elder, ever green in our hearts, Abel's performance is a little too impetuously boyish... In fact, none of the cast was quite glamorous or gallant enough for me. EDIT
Posted Jun 14, 2019