Tomato |
2 Days In Paris (2007) |
"Delpy wrangles her metaphors without showing too much strain, and the performances are too lovely and guileless to fault." |
Michelle Orange |
Tomato |
Air Guitar Nation (2007) |
"There are enough endearing characters and charming trash talk to keep what is essentially a one-note joke running toward the spastic crescendo with alacrity." |
Michelle Orange |
Tomato |
American Cannibal - The Documentary (2006) |
"For all of its self-consciously sophisticated layering, American Cannibal manages a few authentically dark moments of its own." |
Michelle Orange |
Tomato |
Away From Her (2007) |
"There is real grace in Polley's portrait of a couple that stays together long enough to forget." |
Michelle Orange |
Tomato |
The Band's Visit (2007) |
"A truly lovely film, as patient and generous with its characters as viewers should be with its delicately latent politics and occasional over-love of eccentric tableaux." |
Michelle Orange |
Tomato |
Becoming Jane (2007) |
"Lay back and don't think of England -- or Austen -- is the best advice I can give for prospective viewers of Becoming Jane." |
Michelle Orange |
Tomato |
Black Book (2007) |
"The overall tone is best described as glossy, where the gossamer-thin conceits are exactly as they should be." |
Michelle Orange |
Tomato |
Brooklyn Rules (2007) |
"Brooklyn Rules has enough heart and personality to freshen what could easily be construed as stale cannoli." |
Michelle Orange |
Tomato |
The Business Of Being Born (2008) |
"Director Abby Epstein is clearly biased in favor of home birth, but that doesn't make her case any less square." |
Michelle Orange |
Tomato |
Caramel (2008) |
"Labaki infuses her story of beauty, friendship, longing and constraint with that so painfully epitomized in the plight of her native Lebanon." |
Michelle Orange |
Tomato |
Catch a Fire (2006) |
"Noyce's blockbuster tour of duty has equipped him with the skills to bring some of the 20th century's most resonant stories to the masses, dressed in the lean gloss of satisfying thrillers." |
Michelle Orange |
Tomato |
Charlie Wilson's War (2007) |
"Nichol's and Co.'s foreign policy caper puts up a decent fight, but Hoffman wins the War." |
Michelle Orange |
Tomato |
Days of Glory (2006) |
"A long-view history lesson and emotionally solvent treatment of the North African role in WWII that redresses the still-lingering issue in France." |
Michelle Orange |
Tomato |
Dedication (2007) |
"Moore is such a smooth and comfortable presence onscreen that the at times embarrassingly naked framework of David Bromberg's screenplay seems almost believable." |
Michelle Orange |
Tomato |
Definitely, Maybe (2008) |
"Brooks deserves credit for a fairly satisfying survey of a heart wanting what it wants, thinking it wants what it doesn't want, wanting the first thing again and then waking up to what it needs." |
Michelle Orange |
Tomato |
Deliver Us From Evil (2006) |
"Berg's portrait of a sociopath is as chilling as any in recent memory." |
Michelle Orange |
Tomato |
Dreamgirls (2006) |
"Condon and his cast have crafted the richest yet least guilty pleasure of the season, a film so daringly flawed and benign and ambitious and genuine that even a skeptic can fall in love with it." |
S.T. VanAirsdale |
Tomato |
Fay Grim (2007) |
"Hartley has chosen the hallmark of a great remake -- reinvention -- in approaching the concept of the sequel, for better and for worse." |
Michelle Orange |
Tomato |
Flying: Confessions of a Free Woman (2007) |
"A mosaic of experience and endeavor reconsidered as human (in this case, very much female) experiment." |
Michelle Orange |
Tomato |
Grbavica: The Land of My Dreams (2007) |
"Jasmila Zbanic's writing and directing debut takes a personal look at a citizenry reeling in the aftermath of war." |
Michelle Orange |
Tomato |
The Italian (2007) |
"Russian director Kravchuck offers a painful but ultimately hopeful look at what is clearly his beloved country." |
Michelle Orange |
Tomato |
The Jane Austen Book Club (2007) |
"Time was clearly taken here to do better than fine with material that had a sizeable no-brainer audience built right into the title." |
Michelle Orange |
Tomato |
Juno (2007) |
"Once it gets past some serious tonal overkill, Juno's sweetness feels earned." |
Michelle Orange |
Tomato |
Knocked Up (2007) |
"Judd Apatow makes me want to be a dude." |
Michelle Orange |
Tomato |
The Lives of Others (2006) |
"Von Donnersmarck proves himself beyond doubt, moving with purpose toward a grace note of quiet benediction." |
Michelle Orange |
Tomato |
The Lookout (2007) |
"With Gordon-Levitt's eerily self-possessed, pitiful but never bathetic dupe as our conduit, the heist tropes take over without letting you to slip into plot auto-pilot." |
Michelle Orange |
Tomato |
A Mighty Heart (2007) |
"The film is as much rough-and-ready thriller as it is tragic memoir." |
Michelle Orange |
Tomato |
Miss Potter (2006) |
"Noonan's white-glove treatment is suitably proper and hits what seem to be all of the major markers in Potter's life." |
Michelle Orange |
Tomato |
The Monastery: Mr. Vig & the Nun (2006) |
"This slim, sparsely drawn and gently affecting documentary fulfills the promise of Mr. Vig's singular visage." |
Michelle Orange |
Tomato |
No End in Sight (2007) |
"This essential documentary is a clear-eyed, coherent dissection of how crucial decisions were made in the first weeks and months following the American invasion of Iraq." |
Michelle Orange |
Tomato |
Notes on a Scandal (2006) |
"A measured and yet gloriously overblown study of desire, entitlement and the twists we experience while shuttling between the two." |
Michelle Orange |
Tomato |
Orthodox Stance (2008) |
"Hutt's instincts are solid, if occasionally unfocused; he'll be ready to turn pro any day now." |
Michelle Orange |
Tomato |
The Painted Veil (2006) |
"John Curran has been inspired, in an epic way, to capture the extremes of romantic feeling in his adaptation." |
Michelle Orange |
Tomato |
The Prestige (2006) |
"The Prestige is a ridiculously, almost uncomfortably engaging film." |
Michelle Orange |
Tomato |
Rescue Dawn (2007) |
"[The ultimate] rescue scene is so desperate and painful, so joyous and true, that it exhausts the senses." |
Michelle Orange |
Tomato |
The Savages (2007) |
"Linney and Hoffman have a tremendously rewarding, difficult (sibling) rapport." |
Michelle Orange |
Tomato |
The Secret Life of Words (2006) |
"The film succeeds mainly as a story of the connective, regenerative tissue between words and silence on the level strength of its listeners." |
Michelle Orange |
Tomato |
Shortbus (2006) |
"The hallmarks of a true collaboration between the director and his actors are everywhere, and their performances are what raise the film above any of its shortcomings." |
Michelle Orange |
Tomato |
Starting Out in the Evening (2007) |
"A poised, surprisingly unsettling film about the half-life -- and twilight -- of a fiction writer." |
Michelle Orange |
Tomato |
Steal a Pencil For Me (2007) |
"The most moving story about love, longevity, infidelity and the Holocaust you may ever hear." |
Michelle Orange |
Tomato |
Stephanie Daley (2007) |
"By remaining physically and emotionally attuned to her actors rather than the considerable melodramatic heft of her story, Brougher avoids the towel-wringer this unfortunately topical story could have been." |
Michelle Orange |
Tomato |
Stranger Than Fiction (2006) |
"Stranger Than Fiction has a self-regard that can grate, but Ferrell and Thompson give winning performances that suggest the film's aim is true." |
Michelle Orange |
Tomato |
Talk to Me (2007) |
"It's too bad the story of these two men (and two fine performances has to compete with the built-in biopic conventions." |
Michelle Orange |
Tomato |
Taxi to the Dark Side (2008) |
"The Enron director's sharp, shaming torture exposé tracks another Great American Meltdown." |
Michelle Orange |
Tomato |
The Ten (2007) |
"The success (of each sketch) varies not just according to quality but how tickled you find yourself -- from moment to moment -- by this kind of high-wire comedy." |
Michelle Orange |
Tomato |
An Unreasonable Man (2007) |
"A requiem not for Nader but for a time when politics wasn't a dirty word; for that reason it is required viewing for all citizens, concerned or no." |
Michelle Orange |
Tomato |
The Valet (2007) |
"So light on its feet it barely touches the ground; of course, as the French know, the ground can be highly overrated." |
Michelle Orange |
Tomato |
Volver (2006) |
"In this hand-stitched, gentle giant of a film, return is recovery -- by its very nature -- and all ghosts are friendly if you'd only let them in." |
Michelle Orange |
Tomato |
Youth Without Youth (2007) |
"It would be easy to say Dominic is lost in a film; better to suggest he's adrift in a projection." |
Keith Uhlich |
Splat |
The 11th Hour (2007) |
"Seeming to cater to the ADD generation even as it tackles a subject of enormous scope, The 11th Hour doesn't quite get the job done." |
Michelle Orange |
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