Tomato |
A Tout de Suite (2005) |
"Evokes the feel and the sensibility of the New Wave while retaining a decidedly contemporary tone." |
Arthur Lazere |
Splat |
Aberdeen (2001) |
"The acting alone can't fill the motivational gaps." |
Arthur Lazere |
Splat |
About Schmidt (2002) |
"[Nicholson] makes Payne's film look better than it is, but he can't save it from being overlong, repetitious, and flat." |
Arthur Lazere |
Tomato |
Affliction (1997) |
"...gripping, the downward spiral taking on genuinely tragic inevitability.
" |
Arthur Lazere |
Tomato |
After Stonewall (1999) |
"a handsomely produced film that doesn't explore new territory or forge ahead with new insight, but is useful, nonetheless, as a primer on the history of the period" |
Arthur Lazere |
Splat |
Alex and Emma (2003) |
"Both ponderous and fluffy at the same time--a notably contradictory achievement" |
Arthur Lazere |
Splat |
Alexander (2004) |
"It's as if Stone deliberately were creating a parody of all the cornball biblical/historical spectacles in the history of the movies." |
Arthur Lazere |
Splat |
Alfie (2004) |
"The fascinatingly complex character who inspired masterpieces from the wit of Moliere and the genius of Mozart draws only humdrum mediocrity from the remake mill of Hollywood." |
Arthur Lazere |
Tomato |
Alias Betty (2002) |
"An absorbing trip into the minds and motivations of people under stress as well as a keen, unsentimental look at variations on the theme of motherhood." |
Arthur Lazere |
Splat |
Aliens of the Deep (2005) |
"The crew ooos and aahs and talks like so many valley girls ("awesome," "freaky," etc.), leaving the viewer hungry for some more substantive science to back up the visuals." |
Arthur Lazere |
Tomato |
All or Nothing (2002) |
"Leigh and his actors succeed in making these characters human and sympathetic and, thus, all the more profoundly sad." |
Arthur Lazere |
Splat |
All the Real Girls (2003) |
"A sweet glimpse into young romance, delivered with...style, but, in the end, unsatisfyingly skimming the surface" |
Arthur Lazere |
Tomato |
Amadeus (1984) |
"Forman's direction is impeccable, sustaining the unique tone on which the production hinges." |
Arthur Lazere |
Splat |
America's Prince - The John F. Kennedy Jr. Story (2003) |
"Continue[s] after his death the opprobrious exploitation by the media that JFK, Jr. suffered during his life." |
Arthur Lazere |
Tomato |
American Experience - Return With Honor (1999) |
"Mock and Sanders have skillfully crafted a film that grows in intensity as the story unfolds" |
Arthur Lazere |
Splat |
Analyze That (2002) |
"The premise of the successful original is essentially abandoned early on in favor of an uninteresting and predictable plot-driven story from which the laughs disappear all too quickly." |
Arthur Lazere |
Tomato |
Analyze This (1998) |
"sizzling comic chemistry from the DeNiro-Crystal combination" |
Arthur Lazere |
Splat 1/5 |
Angel Heart (1987) |
No article available. |
Arthur Lazere |
Tomato |
Annie Hall (1977) |
"a tour de force that only the most skilled writer/filmmaker/comedian could pull off" |
Arthur Lazere |
Splat |
The Anniversary Party (2001) |
"convenient confessions, extraneous crises, and unearned emotionalism" |
Arthur Lazere |
Tomato |
Anything Else (2003) |
"At least for his fans, there's plenty of Allen-schtick to enjoy." |
Arthur Lazere |
Splat |
Anywhere But Here (1999) |
"A lot of talented people get torpedoed by a dreary, sudsy script." |
Arthur Lazere |
Splat |
The Apple (1998) |
"While the film is remarkable for what it does manage to show us...it didn't sufficiently get under the surface." |
Arthur Lazere |
Splat |
Asylum (2005) |
"It is not sufficient as pure storytelling to sustain interest...feels hollow at the center--lacking in any payoff, from an entertainment or from a thematic point of view." |
Arthur Lazere |
Tomato |
Autumn Tale (1998) |
"very engaging, very smart, very talky, very French, and most of all, very wise" |
Arthur Lazere |
Tomato |
An American in Paris (1951) |
"Every five or ten minutes the audience is treated to a riveting dance number set to some of the greatest tunes of George and Ira Gershwin." |
Ben Stephens |
Tomato |
Adoration (2009) |
"Adoration's ending may feel a little too artificial, a little too idealistic, but there is still something lovely about where these people end up." |
Beverly Berning |
Tomato |
Alexandra (2008) |
" ... at times humorous, at times touching, and unfortunately, at times tedious and distancing." |
Beverly Berning |
Tomato |
All In This Tea (2008) |
"It's another beautiful, sensual film, and another homage to what makes life enjoyable." |
Beverly Berning |
Tomato |
Angel-A (2007) |
"It's too bad it took so long for the film to get here, because it's not only the best part, it's also the very end." |
Beverly Berning |
Tomato |
Antichrist (2009) |
"Antichrist is a kind of exorcism for von Trier, an exorcism that involves no less than the destruction of the genitals of both sexes." |
Beverly Berning |
Splat |
Away We Go (2009) |
"With Away We Go, Mendes has fallen through the rabbit hole and discovered connubial bliss." |
Beverly Berning |
Splat |
Ali (2001) |
"Ali does the unthinkable: making its complex and dynamic subject smaller than life." |
Bob Aulert |
Tomato |
Amelie (2001) |
"An effervescent world of unrequited love, suicidal goldfish, photo booth intrigue and elaborate courtship schemes." |
Bob Aulert |
Splat |
America's Sweethearts (2001) |
"Wide parched vistas of monotony separate scrabbly oases of amusement and the payoff for a gag almost never matches the time devoted to its setup." |
Bob Aulert |
Splat |
Angel Eyes (2001) |
"Angel Eyes is a romance without love, a suspense drama without tension, a thriller without excitement." |
Bob Aulert |
Tomato |
Apocalypse Now Redux (2001) |
"Those who loved the original Apocalypse Now will find more to admire. Those who found the original self-indulgent and pompous may now find it even more so." |
Bob Aulert |
Tomato |
Anatomy of a Murder (1959) |
"The film breezily wears its two-hour-and-forty-minute running-time." |
Bob Wake |
Tomato |
The Amazing Mrs. Pritchard |
"the entirely entertaining tale of Ros Pritchard's rocket ride from West Yorkshire to 10 Downing Street ..." |
Emily S. Mendel |
Splat |
Angels & Demons (2009) |
"Langdon ... comes off as a stuffy, self-important egghead with no sense of humor. He's no Indiana Jones." |
Emily S. Mendel |
Tomato |
Apocalypto (2006) |
"To cut to the chase, there should be an NC-17 rating to describe the over-the- top violence in Apocalypto. But the strong of stomach will find an edge-of-your-seat, heart-pounding, technically amazing movie." |
Emily S. Mendel |
Splat 7/10 |
An Affair of Love (2000) |
"Baye is left stranded, a performance too strong for a film this slight to contain." |
Gary Mairs |
Tomato |
Alice et Martin (1998) |
"Its mystery resonates long after the film ends." |
Gary Mairs |
Tomato 10/10 |
All About My Mother (1999) |
"All About My Mother marks an enormous leap forward for Almodovar." |
Gary Mairs |
Tomato 8/10 |
Almost Famous (2000) |
"Such a dazzlingly entertaining mess that it's tempting to ignore the
confusion that eventually overwhelms it." |
Gary Mairs |
Tomato |
Amores Perros (2001) |
"Cannily balances the melodrama with starkly naturalistic detail." |
Gary Mairs |
Tomato 8/10 |
Anna and the King (1999) |
Click here to see the review. |
Gary Mairs |
Splat 5/10 |
Antitrust (2001) |
"Director Peter Howitt ... seems to realize that he's working with creaky material, so he tries to pump it up with flashy visual effects." |
Gary Mairs |
Splat |
Auto Focus (2002) |
"Has no real plot, composed of a mishmash of scenes thematically concerned with Crane's moral downfall. There is no build up or suspense." |
George Wu |
Tomato |
Azumi (2006) |
"It's a B-movie through and through and its indulgences come from loving the genre too much, not bracketing it with postmodern quotation marks." |
George Wu |
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