DESMOND RYAN
Agrees with the Tomatometer 86% of the time.
Publications: Philadelphia Inquirer
Total Reviews: 69
LISTING OF ALL REVIEWS & ARTICLES
| Rating | T-Meter | Title | Year | Add Date (default) |
|---|---|---|---|
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| Hearts in Atlantis (2001) | " Its heart is certainly in the right place, but its head makes some misjudgments." |
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| Come Undone (2001) | " A delicately managed piece that is by turns intimately detailed and elliptical." |
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| All Over the Guy (2001) | |
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| Jeepers Creepers (2001) | |
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| Apocalypse Now Redux (2001) | " A restoration that transforms a flawed movie, one that was touched by greatness, into a masterpiece." |
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| Russian Doll (2001) | " A tone of lame amiability doesn't compensate for lack of invention." |
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| Divided We Fall (2001) | " Treats the ensuing issues of conscience and compromise with subtlety and warmth." |
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| Baise Moi (2001) | " In railing against the exploitation of women, the movie is itself quite often exploitative." |
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| The Closet (2001) | |
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| Lakeboat (2001) | |
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| Songcatcher (2001) | |
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| A.I. Artificial Intelligence (2001) | |
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| Sexy Beast (2001) | Marks a debut of amazing panache and confidence by music video director Jonathan Glazer. |
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| Dr. Dolittle 2 (2001) | A tired, cobbled-together concoction. |
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| Atlantis: The Lost Empire (2001) | Lacks the confidence and assurance that have been the hallmark of the spectacular successes of the Disney animation renaissance in the last decade. |
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| The King is Alive (2001) | Has its flaws, but remains a fascinating and strangely involving piece. |
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| Hit and Runway (2001) | The movie is sometimes as dumb as its targets. |
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| The Road Home (2001) | Has deep rewards for those who surrender to its lulling rhythm. |
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| Bread & Roses (2001) | The film is full of pungent and telling observation. |
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| The Luzhin Defence (2001) | If The Luzhin Defence falls short of being totally absorbing and compelling, it's surely because it's so difficult to translate Nabokov's view that we are all pawns in the big game. |
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| About Adam (2001) | For his part Townsend does Adam with a lightness of touch that fits in with the film's cheery view of his unscrupulousness. |
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| Shrek (2001) | |
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| Nico and Dani (2001) | One of the better recent contributions to an over-crowded field. |
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| An extraordinarily absorbing documentary. | |
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| Trumpet of the Swan (2001) | The right messages about finding your own way and your real friends are gently offered, but The Trumpet of the Swan never really takes wing. |
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| Eureka (2001) | Begins to develop a peculiar power that draws you gradually into the shattered psyches of Makoto, the bus driver, and the two children. |
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| With a Friend Like Harry (2001) | Brooding and sardonic in tone and beautifully sustained in its tension. |
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| Shadow Magic (2001) | Transports us to a world that still had a capacity for awe, and that's the core of its charm. |
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| The Claim (2001) | The gorgeously photographed winter backdrops that frame the action of The Claim are as much a character as any of the protagonists. |
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| The Low Down (2001) | It is relentlessly low-key, but not without a measure of charm and truth. |
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| Panic (2000) | A defiantly offbeat and accomplished piece with a dream ensemble acting out one man's nightmare. |
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| Amores Perros (2001) | An overpowering and original piece of bravura filmmaking that constitutes one of the most breathtaking and impressive directing debuts in years. |
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| Kingdom Come (2001) | A grab-bag of loosely connected scenes and lives than a film with a firm sense of direction. |
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| The House of Mirth (2000) | This is very much Anderson's film. |
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| Along Came a Spider (2001) | Detective yarns should be tauter than this slack affair. |
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| The Widow of St. Pierre (2001) | Richly rewarding and powerfully argued. |
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| Me, You, Them (2001) | [A] little gem of a movie. |
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| The Day I Became A Woman (2001) | In the uncluttered directness that distinguishes so many of the most memorable Iranian films, Meshkini's movie takes us into three lives at crucial junctures. |
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| The Tailor of Panama (2001) | Forget the end and there is much to enjoy here, especially in the playing of Pierce Brosnan and Geoffrey Rush. |
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| Too Much Sleep (2001) | Amiable, occasionally funny, and never especially involving. |
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| Company Man (2001) | Makes your wristwatch feel like a sundial. |
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| Blow Dry (2001) | If Blow Dry isn't a rousing triumph on the order of The Full Monty and Brassed Off, Rickman, Richardson and Nighy make sure it's a winning film. |
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| Faithless (2001) | Rarely has a supreme artist's twilight been so richly illuminating. |
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| The Taste of Others (2001) | For everyone who has ever asked, 'What on earth do they see in each other?' |
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| Down to Earth (2001) | Despite an energetic effort by the star, it's not a case of third time lucky. |
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| Left Behind - The Movie (2001) | As a film, it's a sorry mess of addled plotting that serves up byzantine paranoia about conspiracies lurking around the United Nations. |
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| Requiem for a Dream (2000) | Aronofsky has fashioned a chilling vision that lives up to the caustic irony of its title and gives us a nightmare that is not lightly forgotten. |
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| State and Main (2000) | Mamet has an unrivaled ear for dialogue. |
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| Finding Forrester (2000) | A rewarding exploration of the knotty and often contentious relationship between teacher and protege. Its chief pleasure is the master class in the art of acting delivered by Sean Connery. |
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| Quills (2000) | More heavy-handed than memorable. |
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