movie film review | chris tookey
harsh reviews
An A to Z of the World's Deadliest Movie Reviews From Affleck
to Zeta Jones
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 
Robert De Niro
Actor, Greetings (1968)
Of Robert De Niro and Jonathan Warden, the latter gives at least some evidence of a little talent.
(Howard Thompson, New York Times)
Actor, Raging Bull (1980)
De Niro put on more than 50 pounds to play the older, drunken La Motta; he seems a swollen puppet... What De Niro does in this picture isn't acting, exactly. I'm not sure what it is. Though it may at some level be awesome, it definitely isn't pleasurable.
(Pauline Kael, New Yorker)
Actor, The King of Comedy (1986)
De Niro cunningly puts in all the stupid little things that actors customarily leave out. It's a studied performance; De Niro has learned to be a total fool. Big accomplishment!... De Niro's performance - from the Nobody's-Home school of acting - is of a piece with Scorsese's whole conception of the film.
(Pauline Kael, New Yorker)
Actor, We’re No Angels (1989)
De Niro gives the most wretched performance of his career. He is about as convincing a priest as Rin Tin Tin would be, impersonating a cat, and tries to raise laughs by pulling faces like Phil Cool. If he hadn't been Executive Producer, perhaps someone might have dared to tell him he was overacting a little.
(Chris Tookey, Sunday Telegraph)
Actor, Awakenings (1990)
Robin Williams gives one of those "please like me, I'm working very hard" genial, mannered performances that makes you want to cry with impatience. But mannered could only begin to describe the infusion of tics and tricks by De Niro's enactment of "star" patient. It's like an acting thesis at Lee Strasberg Institute.
(Virgin Film Guide)
Actor, Mad Dog and Glory (1993)
The main artistic weakness is De Niro, a man with no talent whatever for projecting Mad Dog's vulnerability, self-doubt and old-fashioned chivalry (It's also questionable whether De Niro has any aptitude for comedy.) Here, he looks like a big star struggling unsuccessfully to extend his range: it's a performance of mannerisms and fake modesty.
(Chris Tookey, Daily Mail)
Actor, Mary Shelley’s Frankenstein (1996)
As the monster, Robert De Niro looks like an aging Marlon Brando with his head stitched together. And De Niro acts like Brando too - fake intellectual mumblings and unsuccessfully suppressed rage.
(Richard Schickel, Time)
Robert De Niro may have been obvious casting as the Creature. But he is too obvious; his acting tricks have been seen too many times. He is totally unmoving; his make-up, coupled with his vocal inflections, makes him seem like a disgruntled New Jersey cab driver after a particularly nasty road accident. He was more frightening as Cady in Scorsese's Cape Fear. Come to think of it, he was more scary in Stanley and Iris.
(Chris Tookey, Daily Mail)
Actor, Marvin’s Room (1996)
It features an inept but mercifully brief performance by Robert De Niro.
(John Simon, National Review)
Actor, Analyze That (2002)
If they gave Oscars to good actors who do the worst job in picking out films - and subsequently make too many bad movies - it would be a tossup between De Niro and Anthony Hopkins.
(Sacramento Bee)
If De Niro wants to spend the twilight of his career as the McDonald’s of master thespians, we can’t stop him. But those of us who’ve tasted creme brulee will still know the difference.
(Jonathan R. Perry, Tyler Morning Telegraph)
A moment of silence, please, for the career of Robert De Niro. Once considered the finest American screen actor alive, he has reduced himself to singing I Feel Pretty. It is anything but.
(John Anderson, Newsday)
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