Splat |
S1m0ne (2002) |
"Rather than script a dark send-up of our modern take on narcissism -- a Dr. Strangelove of celebrity, Niccol is tentative, making for an uneven satire." |
Jerry Weinstein |
Tomato |
Sacred Stage - The Mariinsky Theater (2005) |
"There is old and new here, great artists, great traditions and a kind of paradoxical survival story." |
Michael Wade Simpson |
Tomato |
The Saddest Music in the World (2004) |
"Virtually gushes with an overflow of ideas and images and razzle-dazzle" |
Arthur Lazere |
Tomato |
Safe Conduct (2002) |
"By turns gripping, amusing, tender and heart-wrenching, Laissez-passer has all the earmarks of French cinema at its best." |
Rachel Kaplan |
Tomato |
The Safe House (2001) |
"The straight-laced script is somewhat redeemed by Somerville and Reilly imbuing their characters with psychological depth." |
Nigam Nuggehalli |
Tomato |
Same Old Song (1997) |
"Over the course of its two hours, though, each of the main characters deepens and issues of deception, self-deception, trust, and control in their relationships take on surprising complexity." |
Arthur Lazere |
Tomato |
Sammy and Me (2002) |
"Samy y Yo wins with its delightful details...[It's] like a big, friendly kiss." |
Leslie Katz |
Tomato |
Saraband (2005) |
"Bergman perceptively observes the subtleties of family psychology and creates dialogue that reveals complexities of character and relationships with riveting accuracy." |
Arthur Lazere |
Splat |
Savage Grace (2008) |
"[Savage Grace] is like a Vanity Fair article; it's eye candy, with ... a creepy dysfunctional family drama thrown in to give it added value." |
Beverly Berning |
Tomato |
The Savages (2007) |
"The Savages, writer/director Tamara Jenkins's second film, is easily the best comedy of the year." |
Beverly Berning |
Splat 4/10 |
Saving Grace (2000) |
"There's no comic energy, only cute, labored whimsy." |
Gary Mairs |
Tomato |
Saving Private Ryan (1998) |
"An intense, technically brilliant, wonderfully acted film." |
Arthur Lazere |
Splat |
Saw II (2005) |
"In 'Saw II,' both the cops and the victims are so dim the whole elaborate exercise hardly seems worthwhile.
" |
Pamela Troy |
Splat |
Say It Isn't So (2001) |
"The jokes are sparsely sown and what happens between them is duller than C-SPAN during a filibuster." |
Bob Aulert |
Tomato |
Scary Movie 3 (2003) |
"A strong emphasis on sight gags, cameos, a little social satire, and an absolutely merciless attack on sentiment." |
Pamela Troy |
Splat |
Scary Movie 4 (2006) |
"It's almost as though the filmmakers were trying to frustrate and annoy horror fans, and it's a hardy soul who will be willing to sit out the entire 123 minutes." |
Pamela Troy |
Splat |
School of Flesh (1998) |
"a total misfire" |
Arthur Lazere |
Tomato |
School of Rock (2003) |
"[Black's} charm is difficult to resist" |
Leslie Katz |
Tomato |
Schultze Gets the Blues (2005) |
"Important and thoughtful themes, which in other hands would likely have been weighty and overbearing, remain drolly deadpan in this accomplished debut film." |
Arthur Lazere |
Tomato |
Scoop (2006) |
"Woody-ultralite" |
Arthur Lazere |
Splat |
The Score (2001) |
"affable but disastrously clichéd" |
Tom Block |
Tomato |
The Sea Inside (2004) |
"A warm and dramatically satisfying film that doesn't hide its bias, but also allows for varying viewpoints to be expressed." |
Arthur Lazere |
Splat |
Seabiscuit (2003) |
"Every time [William H. Macy] appears on screen, and only when he appears on screen, 'Seabiscuit' comes genuinely and delightfully alive." |
Arthur Lazere |
Tomato |
Seaside (2003) |
"Poles-Curval balances the banal with the sublime in this simply remarkable and very French film." |
Les Wright |
Tomato |
The Season of Men (2001) |
"Tlatli builds an in-depth picture of the struggle between old ways and liberated expectations." |
Arthur Lazere |
Splat |
The Secret Lives of Dentists (2003) |
"The points hung on this skeletal plot all seem obvious, the situation ordinary." |
Arthur Lazere |
Tomato |
Secret Sunshine |
"Can a movie traumatize you in a good way?" |
George Wu |
Tomato |
Secret Things (2003) |
"The initial objective with which Brisseau aligns the audience is replaced with a stark ambivalence that tremendously complicates the movie." |
George Wu |
Tomato |
Secret Window (2004) |
"Will appeal to...horror fans who prefer an ending that truly sinks its teeth into the story and concludes it with a crisp, satisfying crunch." |
Pamela Troy |
Tomato |
Secuestro Express (2005) |
"Merges postmodern self-irony with hip-hop insouciance to explore the profoundly traumatizing effects of kidnapping." |
Les Wright |
Tomato |
Sense And Sensibility (2007) |
"Award winning writer Andrew Davies ... has written an adaption that is largely true to the novel yet shines with new vitality." |
Emily S. Mendel |
Tomato |
La Separation (1994) |
"an exploration in depth of what happens between people when they love and when love fails" |
Arthur Lazere |
Splat |
September 11 (2003) |
"The pieces offer little new insight and less solace. Their failure is likely as much a difficulty of the very short form as of the short-term, unseasoned response to a world-shaking event." |
Arthur Lazere |
Tomato |
Séraphine (2008) |
"We are ... made privy to the very reverie, that state of almost beatific hypnosis, where artists find sanctuary and are compelled to create." |
Beverly Berning |
Splat |
Serendipity (2001) |
"We're meant to accept contrivances and leaps of logic that wouldn't pass muster on a Three's Company episode." |
Scott Von Doviak |
Tomato |
Serenity (2005) |
"A...visually captivating, and darkly mirthful Robert Heinlein-esque episodic trail of picaresque delights." |
Les Wright |
Splat |
Series 7: The Contenders (2001) |
"Outstripped by the very medium it sought to parody." |
Scott Von Doviak |
Tomato |
Serious Moonlight (2009) |
"it is nice to see a film made for adults, with fine acting and the amusing last-minute twist that pulls the film together." |
Emily S. Mendel |
Splat |
Serious Moonlight (2009) |
"Plays out like a sitcom version of Who's Afraid of Virginia Woolf?" |
Scott Von Doviak |
Splat |
Serving Sara (2002) |
"The plot is as exciting as a dead horse." |
Nigam Nuggehalli |
Splat |
Session 9 (2001) |
"We're left with nothing to do but guess who'll die next." |
Gary Mairs |
Tomato |
The Settlers (2003) |
"[The settlers'] combination of strident religious conviction and obliviousness to social and political intricacies is chilling." |
Leslie Katz |
Tomato |
Seven Samurai (1954) |
"Akira Kurosawa captures the convulsive feeling of being alive and crams it inside a single movie. Seven Samurai is The Portable World." |
Tom Block |
Splat |
Seventh Heaven (1997) |
"begins to seem like a Buñuel-influenced trip into Jung. The film has that sort of funny-but-not-really tone.
" |
Arthur Lazere |
Tomato |
The Seventh Seal (1957) |
"so densely packed with both visual and verbal images that it is a cinematic equivalent of poetry" |
Arthur Lazere |
Tomato |
Sex and Lucia (2002) |
"A company of characters and a trove of opulent experiences to revisit many times." |
George Wu |
Splat |
Sex and the City - The Movie (2008) |
"Somewhere along the line, the movie version of Sex and the City got too much Botox injected into the script, and all the life was ironed out of it." |
Beverly Berning |
Tomato |
Sex and the City: The Complete First Season (1998) |
"The Final Season - rebounding from the slump of formulaic sit-com storylines of last season" |
Lewis Whittington |
Tomato |
Sexy Beast (2001) |
"A parlor psychodrama, complete with chiseled, Mamet-style dialogue and a ferociously theatrical turn from Kingsley." |
Scott Von Doviak |
Splat |
Shadow Hours (1999) |
"gives the impression that it was made by the ad copywriters - a showcase for the titillation which sells" |
Arthur Lazere |
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