Tomato 5/6 |
M*A*S*H (1970) |
"It’s the first real film of the 1970s." |
Joshua Rothkopf |
Splat 2/6 |
Macbeth (2007) |
"Something weakened this way comes, you could say." |
David Fear |
Tomato 4/6 |
Mad Detective (2008) |
"Every moment in Mad Detective seems engineered for maximum oddity; it almost becomes overwhelming...Yet the movie feels adventuresome, too, a new bridge to Asia’s soulful ghost canon. It’s a metaphysical mystery masquerading as a doodle." |
Joshua Rothkopf |
Splat 3/6 |
Mad Money (2008) |
"In legal terms, Mad Money isn’t a felony; it’s more like a misdemeanor." |
Hank Sartin |
Tomato |
Madagascar (2005) |
"Lame scatalogical gags and worn pop-culture parodies abound, but the CGI animation romp is somewhat redeemed by the scene-stealing appearances of several supporting characters." |
Erin Clements |
Tomato 3/6 |
Madagascar: Escape 2 Africa (2008) |
"You can’t fault DreamWorks for including what Disney’s animated tales conspicuously leave out -- gags pitched at adults. Plus, the CGI has improved since the first film, with animal fur being ruffled in all the right places." |
Anna King |
Tomato 4/6 |
Made in U.S.A. (1966) |
"It’s still essential for those interested in watching the filmmaker take cinema to new levels of allusion and modernist game playing." |
David Fear |
Splat 1/6 |
Made of Honor (2008) |
"Shouldn’t a chick flick this misogynistic cancel itself out and implode, thus sparing us the indignity of suffering through another predictable, emotionally barren 'speak now or forever hold your peace' moment?" |
Margaret Lyons |
- |
Madison (2005) |
Click here to see the review. |
David Jenkins |
Tomato 4/6 |
Mafioso (1962) |
"The [main] actor's every-paesan persona makes the film's coda such an effectively bittersweet punch line: Behind every local-boy-made-good success story, there apparently lies a history of violence and tears." |
Melissa Anderson |
- |
Magnifico (2003) |
Click here to see the review. |
|
Tomato 4/5 |
The Maid (2009) |
"Saavedra, in an incredibly vanity-free performance, never shies away from Raquel’s darkest edges and still forces us to empathize with the frustrations and stunted loneliness of a life lived in servants’ quarters." |
Karina Longworth |
- |
Mail Order Wife (2005) |
Click here to see the review. |
Nigel Floyd |
- |
Making Grace |
Click here to see the review. |
Dave Calhoun |
Tomato 4/6 |
Mala Noche (1985) |
"Van Sant would later refine some of the blunter stylistic turns into a wondrous visual poetry; his ability to capture the addictive pull of desire, however, remains compelling even in its crudest state." |
Melissa Anderson |
Tomato 3/6 |
Mamma Mia! (2008) |
"This movie isn’t just unapologetic fluff; it’s aggressive, out-loud-and-proud fluff. Just like ABBA." |
Hank Sartin |
Tomato 3/5 |
Mammoth (2009) |
"Moodysson hasn’t exactly descended to Babel-level pabulum with Mammoth, his first foray into English..." |
Joshua Rothkopf |
- |
The Man from London (2008) |
Click here to see the review. |
|
Splat 2/6 |
Man in the Chair (2007) |
"Overdirected and underwritten, this litany of Hallmark Channel tropes and button-pushing sentiment uses Tinseltown treacle to gussy up an otherwise forgettable message movie about humane treatment for the elderly." |
Stephen Garrett |
Splat 2/6 |
A Man Named Pearl (2008) |
"Overlong by half and upbeat to a fault." |
Mark Holcomb |
Splat 3/6 |
The Man of My Life (2007) |
"Too much emphasis is placed on wall text that swirls around like the worst Magnetic Poetry." |
Melissa Anderson |
Tomato 5/6 |
Man On Wire (2008) |
"Armed with the standard operating tools of documentary filmmaking, James Marsh leads audiences through Petit & Co.’s preparation and execution of this incredible feat of performance art." |
David Fear |
- |
The Man Who Copied (2005) |
Click here to see the review. |
Jessica Winter |
Splat 2/6 |
Management (2009) |
"Histrionically scored and lost up its own quirkhole, the movie feels like a TV sitcom that doesn’t know how pretentious it wants to be." |
Joshua Rothkopf |
Tomato 5/6 |
Manda Bala (2007) |
"A complete rebirth of the investigative-documentary form." |
David Fear |
Tomato 6/6 |
Manhattan (1979) |
"This is a deeply self-critical film about immaturity and the gift of real love. Many films can be said to put an epitaph on the decade, but few remain as relevant." |
Joshua Rothkopf |
Tomato 4/6 |
Manufactured Landscapes (2007) |
"What the film mercilessly captures that his possibly too-lovely photos only imply is the stunning degree to which poor countries have become the source and cesspit for the West’s addiction to consumer crap." |
Mark Holcomb |
- |
March of the Penguins (2005) |
Click here to see the review. |
Dave Calhoun |
Tomato 5/6 |
Margot at the Wedding (2007) |
"You can spot the signature Baumbachisms in every cringe-humor exchange, yet his skills as a writer and wrangler of actors have increased tenfold." |
David Fear |
Splat 3/6 |
Marie Antoinette (2006) |
Click here to see the review. |
Joshua Rothkopf |
Splat 2/6 |
Marigold (2007) |
Click here to see the review. |
Tom Beer |
- |
Mark of the Devil (1972) |
Click here to see the review. |
Ben Walters |
Tomato 3/6 |
Marley & Me (2008) |
"Marley & Me strikes a surprisingly delicate balance between wacky humor and a more heartfelt look at how a dog, even a badly behaved one, becomes part of the family." |
Hank Sartin |
Tomato 4/6 |
Married Life (2008) |
"It’s hard to resist luxuriating in these actors’ turns, especially the underrated Rachel McAdams as Harry’s mistress, playing against vampiness." |
Joshua Rothkopf |
Splat 2/6 |
Martian Child (2007) |
"Menno Meyjes handles this Nick Hornby–esque story like a special Oprah episode. Throw in some muted magical realism, and you’ve got everything you need for a fine performance undercut by banal storytelling." |
David Fear |
Splat 3/6 |
Mary (2008) |
"It feels like the kind of snoozy artistic modulation that critics often confuse for maturation." |
Joshua Rothkopf |
Splat 2/6 |
Masai: The Rain Warriors (2006) |
Click here to see the review. |
Joshua Land |
- |
The Matador (2005) |
Click here to see the review. |
Ben Walters |
Splat 2/6 |
The Matador (2008) |
"The Matador suffers from a very predictable, almost staged quality when capturing Fandila’s unsequined life outside the ring." |
Drew Toal |
Splat 2/6 |
Max Payne (2008) |
"No one actually cares if the story adds up in a movie based on a video game. Audiences expect to have their nerve endings stimulated (or frayed), as they will be by the aggressive, bass-heavy sound mix." |
Hank Sartin |
Tomato 4/6 |
Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders (2007) |
"Do not see this film if you worry about money." |
Joshua Rothkopf |
Tomato 3/5 |
Me and Orson Welles (2009) |
"Try to imagine a version of Linklater’s School of Rock that didn’t pivot on the manic music teacher played by Jack Black but instead, perhaps, on his boring roommate. That’s what you have here." |
Joshua Rothkopf |
- |
Me and You and Everyone We Know (2005) |
Click here to see the review. |
Dave Calhoun |
Tomato 4/6 |
Medicine for Melancholy (2009) |
"Nothing if not timely, Medicine for Melancholy argues cogently against the notion of a postracial America. It’s easy to imagine how a film like this might look different in four or eight years, but it’s even easier to imagine why it wouldn’t." |
Joshua Land |
Splat 2/6 |
Meet Dave (2008) |
"Watching Murphy robotically walk around the city does stir nostalgia for the brilliant SNL skit where he masqueraded as an uptight white guy, but that formidable comic actor is long gone." |
Drew Toal |
Tomato 4/6 |
Meet the Robinsons (2007) |
"What might have been a bland Back to the Future rip-off suddenly hums with a screwball sensibility chockablock with singing gangster frogs and evil bowler hats." |
Stephen Garrett |
Splat 3/6 |
Meeting Resistance (2007) |
Click here to see the review. |
Mark Holcomb |
Splat 2/6 |
Megane (2008) |
"Just because a predictable narrative comes laden with pretty pictures and Zen quirk, that doesn’t make its platitudinous ideology any less grating." |
Joshua Rothkopf |
Splat 2/6 |
Memorial Day (2009) |
"Rather than backing up the old chestnut about the banality of evil, Memorial Day does nothing but remind us that cinematic repetition inevitably robs immorality of its impact." |
David Fear |
Splat 2/5 |
The Men Who Stare at Goats (2009) |
"George Clooney browbeats livestock with the same crazy eyes he brought to O Brother, Where Art Thou? -- but his new movie, an unfocused comedy about weird Army pseudoscience, ends up blinking before we laugh." |
Joshua Rothkopf |
RSS Feeds