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Critics list

Nathan Heller

Nathan Heller's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Publications:

Reviews

Movies TV Shows
The Last Black Man in San Francisco (2019) 93% EDIT “The film captures the experience of displacement, of travelling among spheres in which you have increasingly little say or stake and trying to blend in.” – The New Yorker Jun 7, 2019 Full Review The Color of Time (2012) 5% EDIT “The Color of Time... is the bad chapbook poetry of movies: uncontrolled, gratuitously moody, missing its own point.” – Vogue Apr 26, 2017 Full Review Rosewater (2014) 76% EDIT “The story is good, and Stewart lays it out engagingly, with a sharp eye for pacing and a light touch on the diplomatic complexities involved.” – Vogue Apr 26, 2017 Full Review The Past (2013) 92% EDIT “A beautifully generous and emotionally wrenching French movie by the Iranian director Asghar Farhadi” – Vogue Oct 3, 2016 Full Review Regarding Susan Sontag (2014) 86% EDIT “As Kates's documentary makes clear, few authors seized as fully the range of experience, intellectual and physical, that the writing life allowed, and used it to help with the crucial naming of their world.” – Vogue Sep 27, 2016 Full Review The Vow (2012) 30% EDIT “After a cringe-worthy first third, The Vow does manage to hit a decent rom-com stride, exploring the sheer arbitrariness of self-realization.” – Vogue Sep 26, 2016 Full Review In Darkness (2011) 88% EDIT “In Darkness's genius is to treat the dimness of the sewers and the darkness of the movie house as one; emerging into our world when the credits start to roll, we feel reborn.” – Vogue Sep 26, 2016 Full Review Super (2010) 50% EDIT “As a movie, Super is unfocused and bafflingly inconsistent. It is also the most genuinely surprising new release I've seen in a long time.” – Slate Apr 4, 2011 Full Review Bill Cunningham New York (2010) 99% EDIT “Using the low-key approach that shapes Cunningham's column, Press works up a portrait that's as raw, gentle, funny, and -- in the end -- irresistible as the pictures themselves.” – Slate Mar 21, 2011 Full Review
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