Armond White

Armond White

Agrees with the Tomatometer 52% of the time.

Publications:
CityArts , New York Press , NPR's Fresh Air
Critics' Group:
New York Film Critics Circle, New York Film Critics Online
Total Reviews:
574

Listing Of All Reviews & Articles

Showing 51 - 100 of 574
Rating T-Meter Title | Year Add Date
46% Soul Surfer (2011) " The movie glides by easily -- like surfing looks -- which is the result of genuine and strong filmmaking craft." — New York Press
Posted Apr 13, 2011
85% Meek's Cutoff (2011) " It challenges patriarchy and racism, but it never risks questioning received political ideas." — New York Press
Posted Apr 6, 2011
72% Hanna (2011) " Imminently watchable, Hanna suggests a thinking-person's Kick-Ass." — New York Press
Posted Apr 6, 2011
62% To Die Like A Man (2011) " Indulging Rodriguez's ugliness limits the image of gay life and gay culture to negativity and grotesquerie." — New York Press
Posted Apr 6, 2011
26% Arthur (2011) " Worse than film school formula, Arthur's transparently the product of some powerful Hollywood agents responsible for foisting Brand on American culture." — New York Press
Posted Apr 6, 2011
27% Your Highness (2011) " By trashing fairytale propriety, Green and McBride personalize the genre enthusiasm of the Star Wars generation." — New York Press
Posted Apr 6, 2011
66% Insidious (2011) " Its plot, ripped off from The Amityville Horror, shows so little psychological or occult logic that it exposes its own sheer dumbness as just a series of spookings." — New York Press
Posted Mar 30, 2011
23% Sucker Punch (2011) " It's bloody but without menstrual awareness; just as its musical pretext neglects to express genuine feminine trauma or yearning." — New York Press
Posted Mar 25, 2011
83% Potiche (2011) " It's another signpost on Ozon's apprenticeship toward cinema mastery." — New York Press
Posted Mar 23, 2011
71% Paul (2011) " Paul brings back all that is consequential through an ingenious spoof of taken-for-granted sci-fi lore." — New York Press
Posted Mar 23, 2011
83% The Lincoln Lawyer (2011) " Typically, The Lincoln Lawyer uses black pop culture to bring urban consciousness and street cunning to a Hollywood film's slick surface." — New York Press
Posted Mar 23, 2011
76% 3 Backyards (2011) " Unlike those indie directors whose feel-good, P.C. claptrap predictably gets praised by the very people it flatters, Mendelsohn makes suburban poetry that opposes the way middle-class film culture likes to fantasize itself." — New York Press
Posted Mar 23, 2011
99% Bill Cunningham New York (2011) " A less good doc than last year's more honest and insightful Smash His Camera, about paparazzo Ron Galella." — New York Press
Posted Mar 16, 2011
35% Battle: Los Angeles (2011) " Beneath the silly premise is a consistent depiction of military performance, duty and sacrifice that is so unexpected that the film's genre transforms from fantasy to war movie." — New York Press
Posted Mar 16, 2011
10% Red Riding Hood (2011) " Too bad Hardwicke didn't adapt The Scarlet Letter -- better yet, she could have transformed the asinine Easy A." — New York Press
Posted Mar 16, 2011
72% The Adjustment Bureau (2011) " Once again, after the obnoxious The Informant and insufferable Hereafter, Matt Damon uses movies to explain the world to audiences who just want to be entertained." — New York Press
Posted Mar 9, 2011
95% Making the Boys (2010) " A remarkably evenhanded history." — New York Press
Posted Mar 9, 2011
88% Certified Copy (Copie Conforme) (2011) " Kiarostami has become the new Kieslowski, an emigrant to Western Europe whose pretentiousness embarrasses the whole concept of art cinema-as proven by Certified Copy." — New York Press
Posted Mar 9, 2011
89% Uncle Boonmee Who Can Recall His Past Lives (2011) " Weerasethakul is, in fact, the blandest of visionaries. His picturesque images lack the intensity found in the great folkloric artist-filmmaker Julián Hernández." — New York Press
Posted Mar 2, 2011
91% Public Speaking (2011) " Because Scorsese is not a Continental sophisticate like Malle, but an American boomer pop artist, Lebowitz's forays into ideas and history are not his forte." — New York Press
Posted Feb 23, 2011
94% Journal d'un curé de campagne (Diary of a Country Priest) (1951) " Bresson exemplified 20th-century ecumenical intelligence that is much out of fashion today, yet remains singular and powerful." — New York Press
Posted Feb 23, 2011
93% Of Gods and Men (2011) " Beauvois deliberately avoids Nationalist reproach, seeking commiseration that goes deeper than the acquiescence for which French liberals are typically known." — New York Press
Posted Feb 23, 2011
55% Unknown (2011) " Unknown touches on the crisis, but director Jaume- Collet Serra and his screenwriters aren't serious enough or the action adept enough to fully articulate it." — New York Press
Posted Feb 16, 2011
29% The Chaperone (2011) " It's a blatant exploitation film (what Variety calls "an actioner"), yet its obviousness, keyed to Levesque's squared-circle appeal, is humorous." — New York Press
Posted Feb 16, 2011
75% Putty Hill (2011) " Gnomic imagery like this is an arty-artifice, based in sociological condescension." — New York Press
Posted Feb 16, 2011
19% Just Go with It (2011) " The humorous tangents of Just Go With It are testaments to the fine art of improvisation and of comedy that doesn't take itself overly seriously." — New York Press
Posted Feb 16, 2011
100% Poetry (2011) " Poetry isn't quite in the class of Kurosawa's Stray Dog, but Lee's domestic-social drama certainly evinces some of Kurosawa's... well, poetry." — New York Press
Posted Feb 9, 2011
39% The Other Woman (2011) " Right now, Portman commands the cineplexes as surrogate for misguided, self-pitying filmmakers." — New York Press
Posted Feb 9, 2011
39% The Eagle (2011) " Evoking the forgotten meanings of action-adventure films (pre-Tarantino) is enough to make The Eagle a distinctive, if minor, film." — New York Press
Posted Feb 2, 2011
21% Frankie & Alice (2014) " Frankie and Alice is the kind of grandstanding that exposes an actress' pathetic dependence on approval by others." — New York Press
Posted Feb 2, 2011
59% Kaboom (2011) " Araki discovers modern morality within the blueeyed ruins of a Hollister model the same way archeologists uncover ancient totems." — New York Press
Posted Jan 26, 2011
94% The Woodmans (2011) " Willis' careful balancing act between portraying a unique family unit and the peculiarities of genius winds up making The Woodmans disturbing in an unexpected way." — New York Press
Posted Jan 26, 2011
80% Barney's Version (2011) " It lugs around old moral baggage but misses a profound confrontation with the specter of Jewish guilt." — New York Press
Posted Jan 19, 2011
43% The Green Hornet (2011) " Rogen's image and his attitude as co-screenwriter of The Green Hornet updates the bland superhero template using comic irreverence." — New York Press
Posted Jan 12, 2011
40% Repo Chick (2011) " Admittedly, Cox's humor is eccentric, but I like it." — New York Press
Posted Jan 12, 2011
22% Country Strong (2011) " Gwyneth Paltrow must be a great actress because, as country singer Kelly Canter in Country Strong, she seems totally unaware of her insurmountable blandness." — New York Press
Posted Jan 12, 2011
87% Blue Valentine (2010) " Despite Blue Valentine's blatant sensememories of nakedness and affection, irritation and itch, what Gosling and Williams reveal about their own concepts of heterosexual experience is ultimately inane." — New York Press
Posted Jan 5, 2011
93% Another Year (2010) " Its ... characters ... have a familiarity with each other that turns everyday relations -- whether on the job, when traveling or at meals -- into startling, vivid and intimate exchanges." — New York Press
Posted Dec 28, 2010
64% Biutiful (2010) " A friend misread the ad for Biutiful as "Pitiful." He wasn't wrong." — New York Press
Posted Dec 28, 2010
90% The Illusionist (L'illusionniste) (2010) " A return to the possibilities of animation as Fantasia, with its multiple tones, varied episodes and restless invention, timelessly realized." — New York Press
Posted Dec 24, 2010
69% Hadewijch (2010) " Hadewijch goes from austere images of a wintry world to remarkably beautiful images of post-rainfall lushness. From desolation to revelation, humanism becomes visible in every living thing." — New York Press
Posted Dec 22, 2010
96% True Grit (2010) " True Grit speaks to our current moment of vengeful, moral uncertainty. It continues the same revamped Americana that distinguished the Coens' sophisticated remake of The Ladykillers -- a truly original religiouspolitical hybrid." — New York Press
Posted Dec 22, 2010
10% Little Fockers (2010) " A pretext to continue one of the lamest franchises in contemporary Hollywood history." — New York Press
Posted Dec 22, 2010
72% Somewhere (2010) " No better than a mirthless Hollywood hack, Coppola sentimentalizes her family dilemma in order to pose as an artiste. Her navel-gazings are a boutique indie franchise." — New York Press
Posted Dec 22, 2010
38% Casino Jack (2010) " Spacey seems to think he's making a comedy -- a good actorly instinct -- but director George Hickenlooper makes the offensive decision to treat Abramoff's transgressions as more grist for the Bush-grinding mill." — New York Press
Posted Dec 15, 2010
32% How Do You Know (2010) " How Do You Know forges a difficult exploration of its characters' weaknesses and uncertainties. But its deepening drama becomes wishy-washy." — New York Press
Posted Dec 15, 2010
86% Rabbit Hole (2010) " Rabbit Hole is a laudable art project, not great but good enough to rate comparison with stronger movies that contextualize the grief of loss and disorientation." — New York Press
Posted Dec 15, 2010
30% The Tempest (2010) " Everything that makes Shakespeare's final play a great expression of the dangers and risks of ambition in Western civilization is lost in this sex change." — New York Press
Posted Dec 9, 2010
91% The Fighter (2010) " Americans used to seeing trickedup versions of themselves in the movies (or degraded-by-narcissism versions on reality TV) will be startled at the honesty of David O. Russell's The Fighter." — New York Press
Posted Dec 8, 2010
67% The Company Men (2011) " Critics who praise this politically false economic fairytale can only be part of the system -- and part of the problem." — New York Press
Posted Dec 8, 2010
87% Black Swan (2010) " Aronofsky's ethnic denial and escape into Nina's psychological trauma actually trivializes her artistic pursuit. Turning art into genre movie silliness is a careerist's dance." — New York Press
Posted Dec 1, 2010
Showing 51 - 100 of 574
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