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Renata Adler

Renata Adler's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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(Photo Credit: Ron Galella/Ron Galella Collection/Getty Images)

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Reviews

Movies TV Shows
The Cobra (1968) EDIT “There is really no acting or directing to speak of.” – New York Times Jan 9, 2018 Full Review Venom (Gift) (1966) EDIT “It would have been really interesting to see the film (written and directed by Knud Leif Thomsen) uncensored because then it would have turned, in part, into the film the young man was making. But that, presumably, will be some years yet.” – New York Times Jan 9, 2018 Full Review The Wicked Dreams of Paula Schultz (1968) EDIT “The movie neglects no opportunity to be gross (everyone's pudgy hands, for example, are constantly on someone else, and there are two burps in the script, presumably for high comic effect), and yet it can't quite relax and be porcine.” – New York Times Jan 9, 2018 Full Review The Games Men Play (1968) EDIT “These beautifully drawn characterizations are played by Luis Sandrini and Maria Antinea, and Guillermo Brideston and Elsa Daniel. And the interrelationship of the two couples closes the movie on a sweet, yet realistic note.” – New York Times Jan 9, 2018 Full Review The Broken Wings (1964) EDIT “The movie itself, the first Lebanese film to be released in the United States, is in Arabic, which sounds quite soft and beautiful. It is done very simply in black and white and whatever has to do with life in Beirut is worthy and interesting.” – New York Times Jan 9, 2018 Full Review Have You Heard of The San Francisco Mime Troupe? (1968) EDIT “But there are some moments in the life of this radical left, vibrant, hate-free band of troubadours that are worth the price of admission if you can pass through a little incomprehension and ennui to get to them.” – New York Times Jan 9, 2018 Full Review The Long Day's Dying (1968) EDIT “Smug dimestore Existential, Angry Arts careless put-on, megaphone ironies with repetition for slow learners and a share in the insatiable, self-righteous blood lust of the camera.” – New York Times Jan 9, 2018 Full Review The Touchables (1968) EDIT “The rest is awful, a sort of fidgety mod pornography, which uses the advertising convention for eroticism-cutting abruptly from teasing sex scenes to gadgetry, in this case pinball machines, trampolines and odd items of furniture and clothing.” – New York Times Jan 9, 2018 Full Review The Violent Four (1968) EDIT “There are long, not very suspenseful chases in which a lot of cars collide, there are some irate Italian ladies, whose fenders have been smashed, and then the last two crooks are caught by a comically awe-inspiring number of Italian police.” – New York Times Jan 9, 2018 Full Review Money and the Woman (1940) EDIT “One of those sodden, gross off-color comedies that the Italians do so badly and export to us.” – New York Times Jan 9, 2018 Full Review Guide (1965) EDIT “It is also poor reporting - it simply does not tell us anything that we did not know already, and what it does tell - in fuzzy interviews about, for example, the Arab refugee problem - it tells unclearly. Everything about it is off.” – New York Times Jan 9, 2018 Full Review The Story of a Three-Day Pass (1967) 100% EDIT “A kind of gentle cross between "Hiroshima Mon Amour" and "Guess Who's Coming to Dinner"-a little hard to imagine, it is true, but less pretentious than the first and less false than the second.” – New York Times Jan 9, 2018 Full Review Windflowers (2011) EDIT “There is some low-grade ideological discussion part way through, which is static and which-since movies, unlike books, leave one no time to think, and unlike live performances, give one no chance to influence by responding-is out of place.” – New York Times Jan 9, 2018 Full Review 24 Hours in a Woman's Life (1961) EDIT “The thing has a specialized, dated aura of romance, but there is something disturbingly unresolved about its sensuality - like an orchid pressed under a pile of under-shorts or a riding crop in marzipan.” – New York Times Jan 9, 2018 Full Review Capricious Summer (1968) 71% EDIT “It's a big improvement over the thinly disguised industrial films that so often are used as short subjects in local movie houses.” – New York Times Jan 9, 2018 Full Review EDIT “Since very few gang, jewel-theft color films are done in deadly earnest, it is not quite clear to me where the genre ends and its spoof begins.” – New York Times Jan 9, 2018 Full Review You Are What You Eat (1968) EDIT “An awful lot of it is gross and grossly done, but there are moments when one laughs and thinks.” – New York Times Jan 9, 2018 Full Review Funny Girl (1968) 95% EDIT “When she is singing--in a marvelous scene on roller skates--when she throws a line away, or shrugs, or looks funny or sad, she has a power, gentleness and intensity that rather knocks all the props and sets and camera angles on their ear.” – New York Times Jan 9, 2018 Full Review I Even Met Happy Gypsies (1967) EDIT “What happens, then, is an almost pure case of being amused by some of the film without the slightest idea of what people are up to.” – New York Times Jan 9, 2018 Full Review Grand Slam (1967) 33% EDIT “The final pay-off, another restaurant scene in the shadow of Rome's Coliseum, is a briskly absurd reach-out, but at least Mr. Robinson was reading The New York Times.” – New York Times Jan 9, 2018 Full Review They Only Kill Once (1968) EDIT “It is a strong cast. Telly Savalas and Rip Torn, in particular, act fine, consistent villains-Mr. Savalas heavy, comic and civilized, Mr. Torn, callow and lip curling.” – New York Times Jan 9, 2018 Full Review Kisses and Hugs (1999) EDIT “In the end, the film (directed by Jonas Cornell) suffers from the same uncertainty and lassitude the characters have, its whimseys not always inventive, its charm not as clear and new as some of its predecessors. But it is a nice movie all the same.” – New York Times Jan 9, 2018 Full Review The Family Band (1968) EDIT “There are also several uneasy, convictionless patriotic numbers-with talk of unity after fights that divide a nation-which suggest, that worry about national ideals is shaking even the values of musicals.” – New York Times Jan 9, 2018 Full Review Here We Go Round the Mulberry Bush (1968) EDIT “Clive Donner, in short, who directs, directs quite beautifully from one point of view. Not the viewpoint of spoken language certainly, or of narrative. But from a pictorial point of view, of what a new fantasy of mod love and courtship might look like.” – New York Times Jan 9, 2018 Full Review Break Up (1968) EDIT “The rhythm of the film, the way it is cut and put together, is altogether skittish and out of phose-so that it is very hard even to pay attention to what is going on.” – New York Times Jan 9, 2018 Full Review
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