Splat 2.5/4 |
The Interpreter (2005) |
"Pollack becomes so caught up in the machinations of plot that he allows the politics to boil down into simplistic mush." |
Sean Axmaker |
Tomato 3/4 |
Sin City (2005) |
"A pastiche of the most naively macho extremes of brutal pulp fiction, lovingly rendered as mock anti-hero B-movie crime opera." |
Sean Axmaker |
- |
Donnie Darko: The Director's Cut (2004) |
"Once branded a flop, Donnie Darko travels through the tangent universe of cult cinema and emerges in a longer, denser Director's cut. Here's a look at the journey..." |
Sean Axmaker |
- |
Finding Neverland (2004) |
"A Consumate Pro: An Interview with Marc Forster" |
Sean Axmaker |
- |
Garden State (2004) |
"Living Large: An Interview with Zach Braff" |
Sean Axmaker |
Tomato |
Godzilla: Final Wars (2004) |
"... a blithely campy, altogether good-natured love letter to the classic Godzilla films of the 1960s and 1970s directed by... Japan's adolescent action stylist." |
Sean Axmaker |
Tomato 4/4 |
The Lord of the Rings: The Return of the King (2003) |
"There isn't a film in the trilogy that benefits more from the "Extended Edition" treatment." |
Sean Axmaker |
Tomato |
Audition (2001) |
"(The) disturbed and disturbing psycho-horror nightmare begins as a gentle romance based on a lie and then shoots into the Twilight Zone of obsession, sadism, and mutilation." |
Sean Axmaker |
Tomato |
The Specials (2000) |
"It's such a low key parody that the undercurrent of deadpan nuttiness and sheer invention just sneaks up on you." |
Sean Axmaker |
Tomato |
The Trap (1996) |
"Hayashi's jazzy style is at once both playful and serious, full of comic wit and lighthearted character comedy..." |
Sean Axmaker |
Tomato |
The Stairway to the Distant Past (1995) |
"Hayashi's jazzy style is at once both playful and serious, full of comic wit and lighthearted character comedy..." |
Sean Axmaker |
Tomato |
The Most Terrible Time in My Life (1994) |
"... a lively, witty tribute to American private eye films with a serious core." |
Sean Axmaker |
Tomato |
Tetsuo: The Iron Man (1988) |
"Filled with wild stop motion effects and brilliant conceptual horrors, this is a horror film for the modern technological world." |
Sean Axmaker |
Tomato |
The Big Red One (1980) |
"... one of the great films not just about WWII, but the experience of war itself." |
Sean Axmaker |
Tomato |
Cannibal Holocaust (1980) |
"... specious commentary on the manipulation of violence in news and documentary footage and the exploitation of sordid spectacle for entertainment." |
Sean Axmaker |
Tomato |
Clonus (1979) |
"... a sickly satirical parody of the free world." |
Sean Axmaker |
Tomato |
The Quatermass Conclusion (1979) |
"... an ingenious bit of speculative fiction that combines science, myth, religion, and sociology..." |
Sean Axmaker |
Tomato |
A Bell From Hell (1974) |
"... walks a fine line between horror and sick humor." |
Sean Axmaker |
Tomato |
Dirty Mary Crazy Larry (1974) |
"An iconic outlaw classic of seventies speed cinema..." |
Sean Axmaker |
Tomato |
My Name Is Nobody (1974) |
"Part spoof, part farewell to the frontier myth, it's kind of a slapstick version of The Gunfighter." |
Sean Axmaker |
Tomato |
The Candy Snatchers (1973) |
"... a forgotten classic of cynical drive-in noir, a perfectly nasty seventies exploitation film with a vicious sense of doom." |
Sean Axmaker |
Tomato |
Trick Baby (1973) |
"This confidence drama set on the streets of Philadelphia is charged with issues of race, racism, family, and trust in ways that no other blaxploitation film touches on." |
Sean Axmaker |
Tomato |
The Bird with the Crystal Plumage (1969) |
"... the story is only a structure for Argento to spin his painstakingly choreographed visions of violence and terror with a fluid camera and carefully controlled colors." |
Sean Axmaker |
Tomato |
Danger: Diabolik (1968) |
"... a surreal mix of spy movie, heist thriller, and anti-establishment satire, all with delirious style and tongue firmly in cheek." |
Sean Axmaker |
Tomato |
Planet of the Vampires (1965) |
"Though never particularly scary, Bava has a cool way with the alien eerieness of it all..." |
Sean Axmaker |
Tomato |
Blood and Black Lace (1964) |
"The plot becomes secondary to spectacle of the dreamy dance of death, choreographed with sadistic precision, delivered in lurid color, spied upon with a restlessly gliding camera." |
Sean Axmaker |
Splat |
Olga's Girls (1964) |
"Indifferently acted, crude and sleazy, this fascinatingly bad exploitation artifact of 1960s grindhouses is hilarious camp..." |
Sean Axmaker |
Splat |
Olga's House of Shame/Olga's Dance Hall Girls/White Slaves of Chinatown - Triple Feature (1964) |
"For pure exploitation, it doesn't get any more perverse and irredeemably sleazy than Joseph P. Mawra's bargain basement, not-so-Grand Guignol "Olga" films..." |
Sean Axmaker |
Tomato |
Captain Clegg (1962) |
"Unleashes Hammer's trademark Gothic style on a dynamic genre mix: part pirate film, part smuggler thriller, part shadowy small-town crime conspiracy." |
Sean Axmaker |
Tomato 4/4 |
Twilight Zone: The Definitive Edition - Season 1 (1959) |
"This collection has been lovingly put together, and as it boasts, it makes for the Definitive treatment of this essential show." |
Sean Axmaker |
Tomato |
Bitter Victory (1957) |
"Nicholas Ray directs with an uncompromising austerity that puts the hypocrisy and the bitter inhumanity of war in focus..." |
Sean Axmaker |
Tomato |
Forty Guns (1957) |
"... sexual energy and psychotic violence that explodes onscreen in staccato editing, darting camerawork, and the maddest expressions of love this side of Duel in the Sun." |
Sean Axmaker |
Tomato |
The Black Cat (1934) |
"... a baroque masterpiece, the pinnacle of expressionism of Hollywood." |
Sean Axmaker |
Tomato |
800 Bullets |
"... a tribute to the magic of movies and moviemaking set and shot in Almeria, Spain (home to scores of sixties westerns)." |
Sean Axmaker |
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