Tomato A |
Magnolia (1999) |
"I think Flannery O'Connor's philosophy -- that a desensitized culture sometimes need exaggerated, loud storytelling to reawaken it -- is the operating principle here." |
Jeffrey Overstreet |
Tomato A- |
Man on the Moon (1999) |
"Forman makes this a thematic sequel to Amadeus, focusing on a misunderstood genius whose commitment to artistic vision came before acceptance, popularity, and his loved ones." |
Jeffrey Overstreet |
Tomato A- |
Man on the Train (2003) |
"You get the feeling you are watching the adaptation of a classic novel, when in fact the script is an original work of impressive poetry and unpredictable dialogue..." |
Jeffrey Overstreet |
- |
Man On Wire (2008) |
"So many things could have gone wrong -- should have gone wrong. Their accounts of stringing the line defy comprehension." |
Jeffrey Overstreet |
Tomato B |
The Man Who Wasn't There (2001) |
"You've heard of a 'vacant stare'; now you know what it's like for the person staring." |
Jeffrey Overstreet |
Tomato A |
The Man Without a Past (2003) |
"With its rusty railroads and dingy metal canisters where the downtrodden dwell, [the movie] finds color, surprise, and joy in the simplicity of these struggling Helsinki outcasts." |
Jeffrey Overstreet |
Tomato A- |
The Manchurian Candidate (2004) |
"Demme takes the excellent source material ... and recreates it in a new style, with energy, wit, and a profound sense of cultural relevance." |
Jeffrey Overstreet |
Splat C |
Manderlay (2006) |
"[It] raises interesting questions about what can happen in a democracy when its people are deeply corrupt. ... But likely to be more disheartened than enlightened." |
Jeffrey Overstreet |
Tomato B+ |
The Mask of Zorro (1998) |
"Zorro follows the predictable paths of action movies, but re-energizes the pattern with adrenaline, exuberance, creativity, and humor." |
Jeffrey Overstreet |
Tomato A |
Master and Commander: The Far Side of the World (2003) |
"Weir, one of the few directors who is both an artist and a threat to the box office, triumphantly returns..." |
Jeffrey Overstreet |
Tomato B+ |
Match Point (2005) |
"... retools the resolution of Crimes and Misdemeanors so its hero, instead of losing his grasp on morality, never even had a hold on morality in the first place." |
Jeffrey Overstreet |
Tomato B |
Matchstick Men (2003) |
"Despite its string of crime-caper clichés, [director Ridley] Scott’s focus on character and relationship helps the film transcend the typical mediocrity of its genre." |
Jeffrey Overstreet |
Tomato B |
The Matrix (1999) |
"A wild ride, and worth the ticket price if only for the first-rate special effects. There’s enough visionary work here to hold your attention for all 130 minutes." |
Jeffrey Overstreet |
Splat C+ |
The Matrix Reloaded (2003) |
" The philosophical riddling becomes too convoluted. The awe-inspiring fight scenes run too long, delivering few surprises and zero suspense. And the kung-fu/wire-fu confrontations become tedious." |
Jeffrey Overstreet |
Tomato B+ |
The Matrix Revolutions (2003) |
"Underwhelmed by Matrix, bored by Reloaded, I’m ... impressed with Revolutions. Suddenly the characters seem like human beings ..." |
Jeffrey Overstreet |
Tomato B |
Max (2002) |
"Meyjes divides our attentions between the two major players, failing to take us far enough into either character's heart." |
Jeffrey Overstreet |
Tomato A- |
Mean Creek (2004) |
"We're forced to stare both the perpetrators and the victims full in the face, to see what made them the fools they are and what will come of the foolishness they commit." |
Jeffrey Overstreet |
Tomato A- |
Memento (2001) |
"Memento is as bleak as they come. But sometimes staring into humanity's heart of darkness is a healthy thing." |
Jeffrey Overstreet |
Splat D |
Men in Black II (2002) |
"Sadly, the movie has no new ideas worth mentioning." |
Jeffrey Overstreet |
Splat C- |
The Mexican (2001) |
"The Mexican fails because the entire movie changes its tone from one moment to the next." |
Jeffrey Overstreet |
Tomato B |
A Mighty Wind (2003) |
"Where Guffman and Best found hilarious comedy in collisions of fractured personalities, Mighty Wind boasts only a few moments of inspired chaos." |
Jeffrey Overstreet |
Tomato A- |
Minority Report (2002) |
"Minority Report is Spielberg's visual masterpiece." |
Jeffrey Overstreet |
Splat 2/4 |
Miracle (2004) |
"[It takes] a wonderful story and transforms it into by-the-numbers entertainment that doesn't show us anything new about hockey or this historic event." |
Jeffrey Overstreet |
Splat C- |
Mission: Impossible II (2000) |
"This sequel seems afraid of confusing people, so much so that it dumbs down the plot to an insulting level." |
Jeffrey Overstreet |
- |
Monsieur Ibrahim (2004) |
Click here to see the review. |
J. Robert Parks |
Tomato B+ |
Monster (2003) |
"... sometimes, method acting is its own worst enemy. Theron is very, very good ... but many close-ups seem almost calculated to keep reminding us of just how extraordinarily her appearance has been changed." |
Jeffrey Overstreet |
Tomato B |
Monster's Ball (2001) |
"Forster makes us too intimate with these characters. But, heavy-handed and derivative as it is, its lead actors strike some resonant chords...." |
Jeffrey Overstreet |
Tomato B |
Monsters, Inc. (2001) |
"It's like a package of your favorite snacks that you open to discover is only half full." |
Jeffrey Overstreet |
Tomato B- |
Moonlight Mile (2002) |
"I appreciate what the film has to say about honesty and moving on with life. But ... the film's ultimate 'insights' about going on with life seem hollow and insufficient." |
Jeffrey Overstreet |
Tomato B- |
Morvern Callar (2002) |
"Samantha Morton's performance recalls Emily Watson's work in Breaking the Waves -- you can't take your eyes off of her." |
Jeffrey Overstreet |
- |
The Motorcycle Diaries (2004) |
Click here to see the review. |
J. Robert Parks |
Tomato A |
Moulin Rouge (2001) |
"Giving this film more gravity would have sunk it like the Titanic; like a pop song, it floats on hot air. It's risky, gutsy, and (how rare) entertaining." |
Jeffrey Overstreet |
Tomato B+ |
Mulholland Dr. (2001) |
"As art, Drive is extraordinary. As a film for general audiences, it's bound to be misunderstood, condemned as pornographic, or exploited for cheap thrills." |
Jeffrey Overstreet |
Splat C |
Mumford (1999) |
"... it ends up being little more than a mellow tour of quirky characters that are better as representatives of different personality types than actual characters we believe in." |
Jeffrey Overstreet |
Tomato A |
Munich (2005) |
"Munich reveals itself as a sort of reversal of Schindler's List. ... We half-expect Ephriam to smile at Avner and declare "The list is death."" |
Jeffrey Overstreet |
Tomato B- |
Muppets from Space (1999) |
"The Muppets are still a pure delight to watch, and this is the best post-Henson movie they've produced." |
Jeffrey Overstreet |
Tomato A+ |
My Kid Could Paint That (2007) |
"One of art's richest rewards is its way of teaching us about our assumptions, doubts, and capacity for faith. ... My Kid Could Paint That gets people thinking and talking." |
Jeffrey Overstreet |
Tomato B+ |
My Life So Far (1999) |
"With a fine cast, an inviting and pastoral setting, director Hugh Hudson has created a winning morality play that feels like a leisurely vacation." |
Jeffrey Overstreet |
Tomato B- |
Mystery Men (1999) |
"If as a kid you ever put on a costume and imagined you were a superhero, you should have a perfectly good time with this movie." |
Jeffrey Overstreet |
Tomato B- |
Mystic River (2003) |
"... frustratingly humorless, harsh, and hollow, lacking the cohesiveness, color and convincing characterization of Eastwood's masterpiece Unforgiven." |
Jeffrey Overstreet |
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