Tomato |
Bad Guy (2001) |
"Bad Guy's riddles are so hauntingly strange and its plot so artfully ambiguous that you just might find the film’s grip harder to shake than Han-gi’s unnerving silence." |
Brian Gibson |
Tomato 4/5 |
Bad Lieutenant (1992) |
No article available. |
Paul Matwychuk |
Tomato |
Ballets Russes (2005) |
"Never fully explores the stubborn, arduous passion of ballet, [but] . . . skips along pleasantly enough from pointed anecdotes to historical footage before closing with a stirring final flourish." |
Brian Gibson |
Splat |
Ballistic: Ecks vs. Sever (2002) |
"One of the dumbest, least entertaining films I’ve seen this year." |
Josef Braun |
Splat |
Balzac and the Little Chinese Seamstress (2005) |
"Balzac and the Little Chinese Seamstress skirts around insightful human drama and political criticism, weaving a pretty but threadbare tapestry." |
Brian Gibson |
Splat |
Bangkok Dangerous (2001) |
"The pacing is usually clumsy and transitions are clunky. There are two bravura sequences not quite worth the price of submission . . . other scenes suggest that the Pang Brothers really want to make a new horror film, not retread stagnant action plots." |
Brian Gibson |
Tomato 5/5 |
The Bank Dick (1940) |
No article available. |
Paul Matwychuk |
- |
The Barbarian Invasions (2003) |
"Nathalie. . . is based on someone Arcand knows. 'One of my friend’s daughters is an heroin addict,' he says, adding that he asked her to come on set and advise on the film." |
Brian Gibson |
Tomato 5/5 |
Barcelona (1994) |
No article available. |
Paul Matwychuk |
Tomato 3/5 |
Barry Lyndon (1975) |
No article available. |
Brian Gibson |
Tomato |
Battle For Haditha (2007) |
"Knuckle-whiteningly up-close and personal, lurching us into the chaos and senselessness of ideals-inspired murder; whether for religion, patriotism, money, or revenge, the results remain simply brutal." |
Brian Gibson |
Tomato 4/5 |
Battleship Potemkin (1925) |
No article available. |
Brian Gibson |
Tomato |
Be Kind Rewind (2008) |
"The community-produced version of Fats Waller's story leads to a block film party in what may be the most touching ending of Gondry's films." |
Brian Gibson |
- |
Be Kind Rewind (2008) |
""It's really about creating your own entertainment," Gondry adds. "Don't give your money to big corporations. Save your own money and do your own art."" |
Brian Gibson |
Tomato |
Becoming Jane (2007) |
"While Becoming Jane is too much of a prologue to the writing Austen, it is an impeccably crafted imagining of a young woman seeking love at a time when women were so often 'better than their circumstances.'" |
Brian Gibson |
Tomato 4/5 |
Being Human (1994) |
No article available. |
Paul Matwychuk |
Tomato |
The Best of Youth (2005) |
"Traces the quiet failures and proud struggles of everyday lives caught up like driftwood in the currents of history . . . conjures up an exultant, slice-of-life authenticity." |
Brian Gibson |
Splat |
Between Strangers (2002) |
"As soft-lit and saccharine as a Sugar Jones video, it tries to pass off sentiment as emotion and artifice as art." |
Brian Gibson |
Tomato |
Between Sweet and Salt Water (1967) |
"A crisply shot, b & w throwback to cinema that was interested in flashes and glimpses of everyday people . . . a rough-and-ready trip along the currents of struggling lives." |
Brian Gibson |
Splat |
Beverly Hills Chihuahua (2008) |
"Watch some rich folks with unbelievably pampered pets in an LA enclave make money for studio executives. What would be 'depressing' is if the 'real' world out there ever made the sight of clothed and bejewelled lapdogs talking unfunny, right?" |
Brian Gibson |
Tomato |
Big Fish (2003) |
"For all its occasionally sputtering puffery, Big Fish’s tales are woolly and waggish enough to tickle your fancy for two hours." |
Brian Gibson |
- |
The Big Lebowski (1998) |
"Sexuality on Film: 21st Century Men Coming Face to Face with Sexual Mortality" |
Brian Gibson |
Tomato 4/5 |
The Big One (1997) |
No article available. |
Brian Gibson |
Splat |
Birth (2004) |
"Birth is the beigest, most suffocatingly tasteful film I’ve seen since Woody Allen’s Another Woman." |
Paul Matwychuk |
Splat |
Blackballed: The Bobby Dukes Story (2006) |
"Needs a better smattering of colourful, interesting characters than it delivers [with its] scattershot approach . . . lacks any bruising zingers or zealously zany characters." |
Brian Gibson |
Tomato 4/5 |
Blood Simple: Director's Cut (2000) |
No article available. |
Brian Gibson |
Tomato |
Blood Tea and Red String (2006) |
"The patience and delicacy behind this Poe-meets-Potter movie comes through in every elaborate, gradually unfurled scene." |
Brian Gibson |
Splat |
Blood Work (2002) |
"Eastwood doesn’t do much to spice up Blood Work, but you can’t fault his sturdy filmmaking style any more than you could a plumber who stops your pipes from leaking." |
Josef Braun |
Tomato |
Bloody Sunday (2002) |
"This is tragedy in its rawest form: bloody chaos I couldn't help but watch. . . . The tension is palpable and the brutality is immediate." |
Brian Gibson |
Tomato |
Blue Car (2003) |
"Vivid performances . . . the film's warmly luminous look and the richly rendered view of a troubled but talented teen's struggles with the adult world sustain the film." |
Brian Gibson |
Splat |
Blue Crush (2002) |
"It’s inoffensive, cheerful, built to inspire the young people, set to an unending soundtrack of beach party pop numbers and aside from its remarkable camerawork and awesome scenery, it’s about as exciting as a sunburn." |
Josef Braun |
- |
Born Into Brothels (2004) |
"The Power of a Photograph: Zana Briski and Ross Kauffman turn negatives into a positive in Oscar-winning Born Into Brothels.
" |
Brian Gibson |
Tomato |
Born Into Brothels (2004) |
"Powerful because it zooms in on the children, letting their words and images guide us . . . A forthright, hopeful, and bracing documentary of grassroots humanitarianism." |
Brian Gibson |
Tomato 4/5 |
Bound for Glory (1976) |
No article available. |
Paul Matwychuk |
Tomato |
The Box (2009) |
"One of those thrillers that, looking back on it, has some plot ribbons with frayed, fuzzy ends. Just not quite sharp-edged enough to open doors to images and fears in your head you never knew were there, but now want desperately to lock up." |
Brian Gibson |
- |
The Box (2009) |
"SideVue: Third Time's The Harm. Considers, in light of Richard Kelly's The Box, some infamous films that came after a director's sophomore slump." |
Brian Gibson |
- |
The Boy in the Striped Pajamas (2008) |
"SideVue: No Denying. Considers the plethora of Holocaust films and dearth of 'small-h' holocaust films." |
Brian Gibson |
Tomato |
The Bridge (2006) |
"An eerie, haunting immersion in the near-incomprehensibility, darkness and grief rippling around suicide. With a fascinating making-of featurette." |
Brian Gibson |
Tomato |
Bright Leaves (2004) |
"A transcendent documentary that swirls in a temporarily timeless haze of themes: imagined pasts, shadowy legacies, cinematic heirlooms and the bittersweet landscape of memory." |
Brian Gibson |
- |
Bruno (2009) |
"SideVue: Satired Out. Considers cinematic satire in light of the controversy around Bruno." |
Brian Gibson |
Tomato 3/5 |
Butterfly Kiss (1995) |
No article available. |
Brian Gibson |
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