Tomato B- |
Dalai Lama Renaissance (2008) |
"It's a simple truth that many know before the film starts, but the Dalai Lama serves as human exemplar for the lesson" |
John A. Nesbit |
Tomato B+ |
The Damned United (2009) |
"egoless acting, tight editing, and intelligent dialogue" |
John A. Nesbit |
Tomato B |
The Dangerous Lives of Altar Boys (2002) |
"... a lingering, haunting sensibility that shades characters with ambiguous grays compels us to consider forgiving even the most evil characters" |
John A. Nesbit |
Splat C- |
Dark Habits (1984) |
"far drearier and lifeless than Almodóvar's best films" |
John A. Nesbit |
Tomato B |
Darkman (1990) |
"...great explosive scenes, surreal dream sequences with lots of reds and yellows, and really gloomy scenes in darkened alleyways" |
John A. Nesbit |
Tomato B |
Day Break (2005) |
"Rahmanian offers recognizable touches of Abbas Kiaroastami's work" |
John A. Nesbit |
Tomato B |
Day Break (2005) |
" It signals once again that Iranian filmmaking remains a force in world cinema" |
John A. Nesbit |
Tomato A |
Day for Night (1973) |
"Truffaut clearly communicates his consummate love for film in ways certain to bring knowing smiles to all movie lovers" |
John A. Nesbit |
Tomato B+ |
Days and Clouds (2008) |
"draws viewers in close and never relinquishes its grip" |
John A. Nesbit |
Tomato B- |
De-Lovely (2004) |
"the power of the music alone is enough to make this film worth viewing" |
John A. Nesbit |
Tomato 4/5 |
Death in Venice (1971) |
No article available. |
John A. Nesbit |
Tomato B |
The Decameron (1970) |
"down to earth indictment of human folly well worth checking out" |
John A. Nesbit |
Tomato B- |
Deep Blues (1991) |
"music scholars and hardcore blues fans will enjoy the meatier primary source material of Deep Blues" |
John A. Nesbit |
Tomato A |
The Departed (2006) |
"Transforms the often predictable crime genre into a nuanced character study." |
John A. Nesbit |
Tomato B- |
The Devil's Backbone (2001) |
"del Toro provides enough atmosphere and character to elevate it above mediocrity" |
John A. Nesbit |
Tomato B |
Devil's Playground (2002) |
"a reasonably entertaining and extremely insightful 77-minute examination of Amish culture, giving us privy to a world we'd never otherwise experience" |
John A. Nesbit |
Tomato B- |
The Diane Linkletter Story (1970) |
"Bad taste trumps bad cinema any day!" |
John A. Nesbit |
Tomato B |
Dick (1999) |
""Far out!"" |
John A. Nesbit |
Tomato B+ |
DIG! (2004) |
"a striking original chronicle comparing two rival bands" |
John A. Nesbit |
Tomato B |
Dil Se (1998) |
"stands out from the masses of pulp romances cranked out from Bollywood" |
John A. Nesbit |
Tomato B- |
Directors Series, The - Spike Lee (2000) |
"This one-hour documentary serves well as an introduction to Lee's work" |
John A. Nesbit |
Tomato A |
The Discreet Charm of the Bourgeoisie (1972) |
"retains elements of surrealism while remaining one of the more accessible and playful of his films." |
John A. Nesbit |
Tomato A- |
Divine Trash (1998) |
"enough information to decide whether you want to wade into Waters' world of weirdoes" |
John A. Nesbit |
Tomato A |
Do the Right Thing (1989) |
"Lee’s theatrical piece speaks the Truth, Ruth. And it just ain’t simple." |
John A. Nesbit |
Tomato B- |
Don't Come Knocking (2006) |
"Totally lacking pretense and easily accessible, this character driven film is beautifully captured" |
John A. Nesbit |
Tomato A- |
Donnie Brasco (1997) |
"This underrated Mafia film ranks at the top when it comes to emotional intensity, character development, and revealing the inside nature of the Mob." |
John A. Nesbit |
Tomato B |
Doubt (2008) |
"Although Meryl Streep and Phillip Seymour Hoffman are certain to dominate all discussion ... Viola Davis steals the film in its most memorable scene" |
John A. Nesbit |
Tomato A- |
Downfall (2005) |
"pays such attention to detail that the viewer feels privy to surveillance tapes inside the Führer's headquarters" |
John A. Nesbit |
Tomato A- |
Dr. No (1963) |
"Dr. No introduces James Bond to the world in a down-to-earth way. The classic touches are here" |
John A. Nesbit |
Tomato B |
The Dragon Painter (1919) |
"Hayakawa was like the Asian Valentino of the silent screen" |
John A. Nesbit |
Tomato B |
Drugstore Cowboy (1989) |
"communicates its anti-drug message with a sense of humor and humanity" |
John A. Nesbit |
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