Tomato |
O (2001) |
"Helmer Nelson has fashioned a clever premise, helped along by a smart ensemble that manages to highlight Shakespeare's work without parodying it--no small accomplishment." |
Ed Kelleher |
- |
O Amor Natural (1996) |
Click here to see the review. |
|
Tomato |
O Amor Natural (1996) |
"Composed of dramatic and thoughtful readings followed by surprisingly candid interviews." |
Maria Garcia |
Tomato |
O Brother, Where Art Thou? (2000) |
"As always, the Coens combine delightful, idiosyncratic verbal wit with seductive filmmaking mastery." |
Kevin Lally |
Splat |
O Fantasma (2000) |
"Although purportedly a study in modern alienation, it’s really little more than a particularly slanted, gay s/m fantasy, enervating and deadeningly drawn-out." |
David Noh |
Splat |
O'Horten (2009) |
"Well-intentioned piece of Norwegian whimsy may be too low-key for its own good." |
Lewis Beale |
Tomato |
The Object Of My Affection (1998) |
"Sends an audience home happy, all while picturing a community where tolerance is the standard." |
Kevin Lally |
Splat |
Objectified (2009) |
"Compilation of filmed interviews with industrial designers who talk about the philosophy of design, rather than the objects they designed." |
Maria Garcia |
Tomato |
Oblivion (2008) |
"Like all of Heddy Honigmann's films, Oblivion, set in her native Lima, Peru, obliterates any previously held notions we might have had about the subjects she confronts, which, in this case, are intentional forgetfulness and the forgotten of Lima." |
Maria Garcia |
Tomato |
Observe and Report (2009) |
"Warner Bros. takes a gamble on writer-director Jody Hill's sophomore effort, a pitch-black comedy that's sure to inspire rants and raves in equal measure." |
Ethan Alter |
Tomato |
Ocean's Eleven (2001) |
"With the stylish Soderbergh in the driver’s seat, this is a smart, elaborate heist film with a Rat Pack pedigree, some laughs and surprises along the way." |
Ed Kelleher |
Tomato |
Ocean's Thirteen (2007) |
"Has enough frothy frolic to make it worthwhile despite its lapses." |
Frank Lovece |
Tomato |
Ocean's Twelve (2004) |
"Star power and in-jokes make Ocean's Twelve an easy film to watch, but a hard one to care about." |
Daniel Eagan |
Tomato |
October Sky (1999) |
"Such a good story. And October Sky is a really good movie." |
Shirley Sealy |
Splat |
The Odd Couple II (1997) |
"Unfortunately--no offense, now--this is mainly a case of the Old Couple, given the mediocre direction of Howard Deutch and, mostly, the surprisingly bland script by Neil Simon." |
David Bartholomew |
Tomato 3/5 |
Of Human Bondage (1934) |
"Dated but compelling drama" |
Daniel Eagan |
Tomato |
Of Time and the City (2009) |
"Richly rewarding, elegaic evocation of a filmmaker's very specific past." |
David Noh |
Splat |
Off Jackson Avenue (2009) |
"This indie drama deserves points for effort, but the movie's micro-budget is often difficult to ignore." |
Ethan Alter |
Splat |
Off the Black (2006) |
"Although Nolte gives a thoroughly masterful performance, one great actor is never enough. Film, like baseball, is a team sport." |
Bruce Feld |
Tomato |
Off the Map (2005) |
"A beautifully acted, almost magical-realist tone poem about family and memory." |
Lewis Beale |
Tomato |
Off The Menu: The Last Days of Chasen's (1997) |
"A good-natured, observant documentary." |
Ed Kelleher |
Splat |
Office Killer (1998) |
"Despite running only 81 minutes, Sherman's debut feels distended, perhaps because it flutters around from black comedy to Grand Guignol to character study, rarely touching down on any of the above." |
Ed Kelleher |
Splat |
Office Space (1999) |
"A pretty listless satire of workplace culture." |
Chris Grunden |
Tomato |
Offside (2006) |
"Its indictment of Iranian mores is no less incisive than that of The Circle." |
Maria Garcia |
Splat |
The Oh in Ohio (2006) |
"The sight of Posey, Minnelli, and Graham fondling sexual aids and chattering about orgasms is meant to reduce you to helpless laughter, but it will more likely leave you wondering how many bad choices it takes to destroy a career." |
Daniel Eagan |
Splat |
Oh My God (2009) |
"Scattershot documentary about the meaning of God won't win any converts." |
Daniel Eagan |
Tomato |
Old Joy (2006) |
"Strangely affecting given how little heft there is to it, but it does raise the question: At what point does minimalism begin to seem just plain stubborn?" |
Chris Barsanti |
Splat |
Oldboy (2005) |
"The gratuitously vile Oldboy seems content to toy with viewers' sensibilities for no other reason than a few cheap shocks." |
Daniel Eagan |
Tomato |
Oliver Twist (2005) |
"Polanski is the perfect director for the project." |
Rex Roberts |
Splat |
The Omen (2006) |
"John Moore's The Omen is not as frightening as Richard Donner's 1976 version--Moore resorts to scare tactics rather than impending horror." |
Maria Garcia |
Tomato |
On A Clear Day (2006) |
"A satisfying 92 minutes." |
Doris Toumarkine |
Tomato |
On Guard (1997) |
"Old-fashioned but thoroughly satisfying entertainment." |
Doris Toumarkine |
Tomato |
On Hostile Ground (2001) |
"Regardless of its flaws, On Hostile Ground makes an important statement about the dangers abortion providers and their families continue to face." |
Maria Garcia |
Tomato |
On the Line (2001) |
"The film delivers on its admittedly modest mission -- to painlessly effect a pop star's transition to movie actor -- despite being not very subtle." |
David Noh |
Tomato |
On the Outs (2005) |
"Nothing short of awe-inspiring: riveting and real, a truly important work which is, blessedly, about something." |
David Noh |
Tomato |
On The Ropes (1999) |
"Despite gritty settings and occasionally harsh language, it's a warm, uplifting film that deserves a wide audience." |
Daniel Eagan |
Tomato |
On the Rumba River (2008) |
"Jacques Sarasin's documentary about the legendary Congolese singer Wendo Kolosoy is a big, mellow jam of a film--a must-see for world-music fans." |
Chris Barsanti |
Splat |
On the Run (1998) |
"By the last half-hour, the movie has become so labored and unbelievable, it's impossible to watch it with a straight face." |
Ethan Alter |
Splat |
On the Run (2002) |
"On some levels, Belvaux's vision isn't far removed from average fare on network TV." |
Daniel Eagan |
Tomato |
Once (2007) |
"Once is twice-blessed: good songs, and a real story--not just a clothesline on which the tunes can hang." |
Frank Lovece |
Tomato |
Once in a Lifetime: The Extraordinary Story of the New York Cosmos (2006) |
"A fun and rowdy take on the New York Cosmos, who almost succeeded in bringing soccer into the American mainstream during the late 1970s." |
Chris Barsanti |
Tomato |
Once in the Life (2000) |
"Enough expertise has been lavished on this small film to make one almost forget that Once in the Life has been done more than once before." |
Eric Monder |
Tomato |
Once Upon a Time in Mexico (2003) |
"A film that works on almost every level." |
Lewis Beale |
Splat |
Once Upon a Time in the Midlands (2003) |
"The largely charmless Once Upon a Time in the Midlands salutes the spaghetti western but is more a ploughman's lunch hodgepodge." |
Doris Toumarkine |
Splat |
One (2000) |
"Screenplay also telegraphs the fates of both characters from very early on, a decision that sucks out a great deal of potential suspense and drama." |
David Luty |
Splat |
The One (2001) |
"It's as if Wong and Morgan didn't think beyond the pitch session. It becomes painful to watch how quickly the duo squanders the story's potential." |
Ethan Alter |
Splat |
One Bright Shining Moment (2005) |
"Just too hagiographic to engage anyone but the most nostalgic follower of the 1972 campaign." |
Eric Monder |
Tomato |
One Day in September (2000) |
"Thin on investigative reporting, but thick with emotion." |
Maria Garcia |
Tomato |
One Day You'll Understand (2008) |
"Drama about a French Jewish family's suffering, secrets, and denials regarding Nazi persecution during the French Occupation is an often disorienting collage of memory shards. But the legendary Jeanne Moreau and other excellent cast help hold interest." |
Doris Toumarkine |
Tomato |
One Hour Photo (2002) |
"As the needy photo clerk, Robin Williams turns in a complex portrait of a man who wants to be helpful, while barely concealing a fissure in his view of everyday life." |
Ed Kelleher |
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