Robert Daniels

Film critic at The New York Times, LA Times,, ThePlaylist, Polygon, and more

Favorite films

  • 8½
  • Singin' in the Rain
  • Bicycle Thieves
  • 2001: A Space Odyssey

Recent activity

  • The Canadian


  • Hell or High Water


  • Blood on the Moon


  • The Turning Point


Recent reviews

  • The Turning Point

    The Turning Point


    On its face, “The Turning Point” could easily devolve into a mindless odd couple action-comedy. But a deeper, sensitive spirit resides in the Italian director Riccardo Antonaroli’s crime flick. Ludovico (Brando Pacitto) is a depressed comic book artist who never leaves his tiny apartment, a space decorated with movie posters for Italian films like “Il Sorpasso” (from which Antonaroli’s movie borrows heavily). Ludovico’s life is permanently altered when Jack (Andrea Lattanzi) breaks into his home to seek shelter after stealing…

  • Spiritwalker



    An injured gunman awakens at the site of a car wreck and doesn’t remember his name or how he got there. Within hours his consciousness switches to another body, and by midnight he jumps to another. Along the way he pieces together his identity through a few clues: A woman named Jin-ah (Lim Ji-yeon) is searching for her missing boyfriend, I-an (Yoon Kye-sang), after a shootout with underworld goons. It’s not long before this amnesiac man discovers that he, himself,…

Popular reviews

  • Doctor Strange in the Multiverse of Madness

    Doctor Strange in the Multiverse of Madness


    Doctor Strange in the Multiverse of Madness was just… ok. A great Sam Raimi gothic horror flick is lurking underneath the crushing weight of over calibrated MCU world building. But it only pokes through in fits, giving the film a nauseating quality in its rapid tonal shifting.

    The performances are also lacking: Elizabeth Olsen, for instance, just didn’t work for me, and the story made me hate the events in WandaVision even more. I don’t think this movie, on an…

  • tick, tick...BOOM!

    tick, tick...BOOM!

    The most insufferable film, maybe, ever? Andrew Garfield goes big, but that doesn’t mean he’s particularly good. Black people aren’t properly lit. Lin-Manuel Miranda lacks the visual language of a filmmaker (very odd and repetitive compositions. Even weirder editing choices). In general: I had very little patience for Larson. This film creaks under the obnoxious, and misplaced importance of the all-consumed creative, particularly, the white creative, the only kind of creative who’s allowed to carry themselves like Larson does. That’s…