Critic Quotes

Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.
Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.
Sometimes a movie knows you're watching it. It knows how to hold and keep you, how, when it's over, to make you want it all over again.
Spare a thought for 'Suburbicon' as it swiftly vanishes from America's megaplexes. This is George Clooney's movie about - well, I'm not sure. It's supposed to be the sort of movie that doesn't get made much anymore: starry, not that expensive, 'middlebrow.'
Standing beneath the white light of an Apple store is like standing on a Stanley Kubrick movie set. His '2001: A Space Odyssey' predicted Jobs and a future where technology was our friend. Kubrick, of course, didn't like what he saw. And occasionally, I have my doubts.
Suddenly, stories of abuse and harassment are being believed; abusers and harassers are being toppled. Yet, at the same time, one of the top movies in the country right now is 'Daddy's Home 2,' which has a biggish, comedic part for Mel Gibson. He's the man whose anti-Semitism and racist rants became part of the cultural lore.
Sunken-place entrants include Clarence Thomas, Ben Carson, Tiger Woods, O.J. Simpson, sometimes Kanye West, and any black person with something nice to say about President Trump. It's more generous than 'sellout' and less punitive than 'Uncle Tom,' a dis and a road to redemption.
The bravery of Stanley Kramer's 'Guess Who's Coming to Dinner' amounted to two Hollywood legends - Katharine Hepburn and Spencer Tracy - telling the world that a black son-in-law is something they can live with, and so should you, especially if he looks like Sidney Poitier and has degrees.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
The enormous success of 2009's 'The Blind Side,' in which Sandra Bullock makes a black teenager one of the family, demonstrates that America isn't post-racial. It is thoroughly mired in race - the myths that surround it, the guilt it inspires, the discomfort it causes, the struggle to transcend it.
The Huxtables laughed and bonded and debated and lip-synced. They were glamorous and simple and extraordinarily human. And affluent. And educated. And so many different kinds of black. You'd think that all of that would make them the Howard University of African-American family life. But white people wanted to matriculate, too.
The reason to do any barking - well, the reason for me - is that 'Three Billboards' feels so off about so many things. It's one of those movies that really do think they're saying something profound about human nature and injustice.
The relief of 'Grace Jones: Bloodlight and Bami' is that it seeks to square the person with the provocateuse.
There comes a point in your moviegoing life where you look at the screen and then you look at the world and you ask, 'What is going on?' You want the movies to show you the chaos and mess and risk and failure that are normal for a lot of us. Generally, the movies hide all of that.
There is a tragic kind of joke. You really can't keep a man down - good but often otherwise - because history's mechanics are built to keep him climbing toward the top. Somehow, Icarus gets to be reborn as Iron Man.
There's power in turning to the past to illuminate the current state of things.
This country is rich with awful things to say about everybody. There's a slur for you and a slur for me - more than one. And because we're terrified of dealing with them head on, we've made them just as easy to warp and defang.
We don't yet call it 'Thxgvng,' because any holiday whose centerpiece sits in an oven for four to six hours, after having sat out for as long to reach room temperature, must be spelled all the way out. Cook a turkey. You'll see. This is to say that you're not just roasting a turkey, obviously.
What about Hong Chau? In typical supporting-part fashion, she shows up halfway through 'Downsizing,' already shrunk, an imperious Vietnamese house cleaner with a limp and sharp angles. The movie's satirical cleverness upstages its rage; then Ms. Chau proves she's capable of managing both.
When a black person is acting up or showing off, somebody might say she's 'wilin' out.' In sports, an athlete who really takes it to another level has entered 'beast mode,' which happens to be the nickname of the former Seattle Seahawks superstar Marshawn Lynch.
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