Armond White Archive
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![By Armond White Whatever else is going on in Andrew Bujalski’s Computer Chess (now playing at Film Forum), it is also–unmistakably–a satire on film culture’s extinction. The weird weekend gathering […]](https://www.nyfcc.com/wp-content/uploads/2013/07/computer-chess.jpg "Computer Chess reviewed by Armond White for CityArts")
Computer Chess reviewed by Armond White for CityArts
Posted on July 19, 2013 | No CommentsBy Armond White Whatever else is going on in Andrew Bujalski’s Computer Chess (now playing at Film Forum), it is also–unmistakably–a satire on film culture’s extinction. The weird weekend gathering […] -
![By Armond White One story isn’t enough for Neil Jordan. Byzantium is full of twists and turns, memories and revelations that zigzag through the tortured history of men, women, birth, […]](https://www.nyfcc.com/wp-content/uploads/2013/06/byzantium-gemma-arterton-1.jpg "Critic’s Pick of the Week: Byzantium reviewed by Armond White for CityArts")
Critic’s Pick of the Week: Byzantium reviewed by Armond White for CityArts
Posted on June 26, 2013 | No CommentsBy Armond White One story isn’t enough for Neil Jordan. Byzantium is full of twists and turns, memories and revelations that zigzag through the tortured history of men, women, birth, […] -
![By Armond White In light of Michael bay’s Pain & Gain, it’s time to take another look one of its influences: Michelangelo Antonioni’s 1970 Zabriskie Point finally passes the test […]](https://www.nyfcc.com/wp-content/uploads/2013/05/zabriskiepoint2.jpg "DVD Pick: Zabriskie Point (Warner Home Video) reviewed by Armond White")
DVD Pick: Zabriskie Point (Warner Home Video) reviewed by Armond White
Posted on May 24, 2013 | No CommentsBy Armond White In light of Michael bay’s Pain & Gain, it’s time to take another look one of its influences: Michelangelo Antonioni’s 1970 Zabriskie Point finally passes the test […] -
![By Armond White You might laugh at The Hangover Part III but you won’t laugh as hard as Todd Phillips, the film’s pecuniary director and co-screenwriter, who laffs all the […]](https://www.nyfcc.com/wp-content/uploads/2013/05/Hangover-Part-III-Review.jpg "The Hangover Part III tallied by Armond White for CityArts")
The Hangover Part III tallied by Armond White for CityArts
Posted on May 23, 2013 | No CommentsBy Armond White You might laugh at The Hangover Part III but you won’t laugh as hard as Todd Phillips, the film’s pecuniary director and co-screenwriter, who laffs all the […] -
![By Armond White What’s derisive in the American title A Pig Across Paris (now playing at Film Forum) drives home the bitterness hidden in the original French title La Traversee […]](https://www.nyfcc.com/wp-content/uploads/2013/05/pig-paris.jpg "A Pig Across Paris (at Film Forum) reviewed by Armond White for CityArts")
A Pig Across Paris (at Film Forum) reviewed by Armond White for CityArts
Posted on May 23, 2013 | No CommentsBy Armond White What’s derisive in the American title A Pig Across Paris (now playing at Film Forum) drives home the bitterness hidden in the original French title La Traversee […] -
![By Armond White Julianne Moore has unintentionally foundered her acting career in insufferable films like Savage Beauty, HBO’s Game Change, The Kids Are Alright, Crazy Stupid Love, Chloe, Blindness, Children […]](https://www.nyfcc.com/wp-content/uploads/2013/05/what-maisie-knew.jpg "What Maisie Knew reviewed by Armond White for CityArts")
What Maisie Knew reviewed by Armond White for CityArts
Posted on May 17, 2013 | No CommentsBy Armond White Julianne Moore has unintentionally foundered her acting career in insufferable films like Savage Beauty, HBO’s Game Change, The Kids Are Alright, Crazy Stupid Love, Chloe, Blindness, Children […] -
![By Armond White Michael Bay sees like an ad-man gone wild— glorifying everything–a vision that corresponds to the age’s consumerist sensibility: greed and the need for speed. In Pain & […]](https://www.nyfcc.com/wp-content/uploads/2013/05/pain-and-gain-poster.jpg "Pain & Gain reviewed by Armond White for CityArts")
Pain & Gain reviewed by Armond White for CityArts
Posted on May 3, 2013 | No CommentsBy Armond White Michael Bay sees like an ad-man gone wild— glorifying everything–a vision that corresponds to the age’s consumerist sensibility: greed and the need for speed. In Pain & […] -
![By Armond White The worst Steven Spielberg production ever is, without doubt, his Obama homage, Steven Spielberg’s Obama. Unlike his disingenuous Obama-in-disguise campaign feature film, Lincoln, this two-minute satirical short […]](https://www.nyfcc.com/wp-content/uploads/2013/05/Spielbergs-Obama.jpg "Steven Spielberg’s Obama reviewed by Armond White for CityArts")
Steven Spielberg’s Obama reviewed by Armond White for CityArts
Posted on May 1, 2013 | No CommentsBy Armond White The worst Steven Spielberg production ever is, without doubt, his Obama homage, Steven Spielberg’s Obama. Unlike his disingenuous Obama-in-disguise campaign feature film, Lincoln, this two-minute satirical short […] -
![By Armond White Unmistakably Pal Sverre Hagan’s appearance in Kon-Tiki as Norwegian explorer Thor Heyedahl is modeled after Peter O’Toole’s T.E. Lawrence in Lawrence of Arabia. Not just tall, blue-eyed […]](https://www.nyfcc.com/wp-content/uploads/2013/04/kon-tiki.jpg "Kon Tiki reviewed by Armond White for CityArts")
Kon Tiki reviewed by Armond White for CityArts
Posted on April 26, 2013 | No CommentsBy Armond White Unmistakably Pal Sverre Hagan’s appearance in Kon-Tiki as Norwegian explorer Thor Heyedahl is modeled after Peter O’Toole’s T.E. Lawrence in Lawrence of Arabia. Not just tall, blue-eyed […] -
![By Armond White Sloppy storytelling has become so standard for American filmmakers (Side Effects, The Place Behind the Pines) that Francois Ozon’s new trifle In the House feels especially pleasurable. […]](https://www.nyfcc.com/wp-content/uploads/2013/04/inthehouse_03.jpg "In the House reviewed by Armond White for CityArts")
In the House reviewed by Armond White for CityArts
Posted on April 19, 2013 | No CommentsBy Armond White Sloppy storytelling has become so standard for American filmmakers (Side Effects, The Place Behind the Pines) that Francois Ozon’s new trifle In the House feels especially pleasurable. […]