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All Access: Front Row. Backstage. Live! (2001) |
Click here to see the review. |
MaryAnn Johanson |
Tomato 9/10 |
All I Wanna Do (1998) |
Click here to see the review. |
MaryAnn Johanson |
Splat |
All I Want (2003) |
"[P]allid teen comedy [that] tries... hard to be cutesy and precious and adorably wacky..." |
MaryAnn Johanson |
Tomato |
All Over the Guy (2001) |
"This is a love story in which all of us will recognize a little bit of ourselves." |
MaryAnn Johanson |
Splat 6/10 |
All Quiet on the Western Front (1930) |
"With no focus on one or even a handful of characters, Quiet is strangely uninvolving until it begins to concentrate on young Paul Baumer." |
MaryAnn Johanson |
Tomato 9/10 |
All the King's Men (1949) |
"Goodness me, this movie could not have been more prophetic had Nostradamus himself written it." |
MaryAnn Johanson |
Tomato |
All the Mornings of the World (1993) |
"A gorgeous new DVD presentation that will delight fans of great film and beautiful music..." |
MaryAnn Johanson |
Tomato 9/10 |
Almost Famous (2000) |
"So complete and perfect and full of life that it swept me up into its world and held me there, and I never wanted it to let me go." |
MaryAnn Johanson |
Splat |
Alone in the Dark (2005) |
"[A]n instant classic of cheeseball cinema, an orgy of overblown dialogue and hammy overacting, 90-some-odd minutes of cheap-looking, jaw-dropping incoherence..." |
MaryAnn Johanson |
Splat |
Along Came Polly (2004) |
"Is there any better definition of a whore than what Stiller has done to himself? How can he possibly be creatively satisfied with this?" |
MaryAnn Johanson |
Splat |
Alpha Dog (2007) |
"[C]hock full of embarrassing baloney that tries to dress up the inherent crude B-movie-ness of itself..." |
MaryAnn Johanson |
Tomato |
Alvin and the Chipmunks (2007) |
"Tiny furry nut-gathering mammals trying to cheer you up via song turns out to be surprisingly merry." |
MaryAnn Johanson |
Tomato 9/10 |
Amadeus (1984) |
"The magnificent, passionate music alone makes it worth watching. The layered story and complex, deeply wounded characters make it worth revisiting again and again." |
MaryAnn Johanson |
Tomato |
Amandla: A Revolution in Four-Part Harmony (2003) |
"I was swaying in my seat and fighting down an enormous lump in my throat by the end of this tremendously moving film." |
MaryAnn Johanson |
Splat |
Amarcord (1974) |
"[S]imply nonsensical to me. Fascists are idiots, Catholic priests are clowns -- I agree with this. So why don't I feel it?" |
MaryAnn Johanson |
Tomato |
Amelia (2009) |
"[A] quiet, reflective film... Earhart is not an icon or a symbol: she's a human being... [T]he assumption of autonomy... is a luxury rarely accorded to women in our pop culture, and it is wonderful to see here." |
MaryAnn Johanson |
Tomato |
Amelie (2001) |
"This is what The Movies are supposed to be all about, magical, transporting confections of dreams and hopes and kindness and true love." |
MaryAnn Johanson |
Tomato |
Amen (2003) |
"Turns an infuriating and frustrating predicament into a thriller of the conscience." |
MaryAnn Johanson |
Splat |
America's Heart and Soul (2004) |
"It's... all slo-mo stars-and-stripes in the warm breeze of apple-pie freedom and the golden light of soft-focus diversity. We're the best!" |
MaryAnn Johanson |
Splat |
America's Sweethearts (2001) |
"Crystal and Co. shoot for the cheapest laughs they can find, and ignore the tougher, smarter ones they might have discovered in so potentially rich a vein as Hollywood's marketing practices." |
MaryAnn Johanson |
Splat |
An American Affair (2009) |
"It's all presented so earnestly... that you barely realize at the time how preposterous it all is. Intrigue! Cubans! The Bay of Pigs! JFK! It's the coming-of-age tale filtered through the mind of Oliver Stone," |
MaryAnn Johanson |
Tomato 9/10 |
American Beauty (1999) |
"I think Lester Burnham is destined to become an iconic American character, one with a life well beyond the film that spawned him." |
MaryAnn Johanson |
Splat |
An American Carol (2008) |
"Oh dear. Oh oh oh dear. It's so much worse than I could have imagined." |
MaryAnn Johanson |
Tomato |
American Dreamz (2006) |
"[A] sharply incisive zinger that condemns the American people for... being perfectly willing to be manipulated by their leaders and their entertainers..." |
MaryAnn Johanson |
Tomato |
American Gangster (2007) |
"[B]rings together Crowe and Washington, both of whom stalk the screen, as they always do, as if The Movies were invented for them, and how freakin' explosive can it be to smash these guys into each other?" |
MaryAnn Johanson |
Tomato 9/10 |
American Graffiti (1973) |
"American Graffiti has a timeless power that speaks to everyone who was ever a teenager." |
MaryAnn Johanson |
Splat |
American Gun (2006) |
"[T]his is no bit of cheap exploitation created merely to rake in some dough. But purity of motives aside, the film simply isn't very good." |
MaryAnn Johanson |
Splat |
An American Haunting (2006) |
"[F]rightfully dull..." |
MaryAnn Johanson |
Tomato 9/10 |
American History X (1998) |
"Norton is by turns frightening and heartbreaking, angry and serene. I don't think I've ever seen a character in film with a more believably wide range." |
MaryAnn Johanson |
Tomato 9/10 |
An American in Paris (1951) |
"Got only the vaguest connection to plot or character, but it's a gorgeous piece of filmmaking." |
MaryAnn Johanson |
Tomato 9/10 |
American Movie (1999) |
Click here to see the review. |
MaryAnn Johanson |
Splat |
American Outlaws (2001) |
"If you’re not deliberately aiming for cheesy beefcake, and it happens anyway, then you’re in trouble." |
MaryAnn Johanson |
Tomato 9/10 |
American Psycho (2000) |
"A clever adaptation." |
MaryAnn Johanson |
Tomato |
American Reunion (2004) |
"[N]imble, unsentimental, surprisingly poignant..." |
MaryAnn Johanson |
- |
An American Rhapsody (2001) |
Click here to see the review. |
MaryAnn Johanson |
Tomato |
American Splendor (2003) |
"Paul Giamatti, with a stunning leading-man confidence and sincerity... turns a sad-sack depressive into the unlikeliest champion of the mundane." |
MaryAnn Johanson |
Tomato |
American Teen (2008) |
"[I]ntimate and incisive... a peek into the horrors of adolescence that most of us have tried to forget, and shouldn't..." |
MaryAnn Johanson |
Tomato |
American Violet (2009) |
"[A]n angry, old-fashioned, and very, very welcome polemic..." |
MaryAnn Johanson |
Tomato |
An American Werewolf in London (1981) |
"Spare and clean, with an uncluttered look rare for a horror film." |
MaryAnn Johanson |
Tomato |
Amistad (1997) |
"This is as stark and unsentimental -- in other words, the most unSpielbergian -- a film as I've seen in a long time." |
MaryAnn Johanson |
Splat |
The Amityville Horror (2005) |
"[B]ehind [Reynold’s] empty himbo stare is a lack of talent that is shocking even in an era in which style is valued over substance..." |
MaryAnn Johanson |
Tomato |
Amy (2001) |
"A moving and wise story." |
MaryAnn Johanson |
Splat |
Amy's O (2002) |
"Despite its title, Amy’s Orgasm is not a porno, though it is as tedious as one." |
MaryAnn Johanson |
Tomato |
An Education (2009) |
"Someone once said that perfect movies are boring and only flawed movies intriguing... And then along comes a movie like An Education, about which the number of things that are absolutely perfect is impossible to measure... and it's thrilling and ca" |
MaryAnn Johanson |
Splat |
Analyze That (2002) |
"Watching Billy Crystal trying to crack up Robert DeNiro -- and DeNiro just about letting him do it -- is only sporadically diverting." |
MaryAnn Johanson |
Tomato 9/10 |
Analyze This (1998) |
"A brilliant concept, brilliantly executed (pun intended)." |
MaryAnn Johanson |
Tomato |
Anastasia (1997) |
"It's an enjoyable 90 minutes, but it never approaches the so-beautiful-you-have-to-cry sequences that have become Disney's trademark..." |
MaryAnn Johanson |
Splat |
Anchorman: The Legend of Ron Burgundy (2004) |
"[N]inety endless minutes of some of the most stunningly incompetent filmmaking I’ve ever seen..." |
MaryAnn Johanson |
Splat |
And Now Ladies and Gentlemen (2003) |
"Stitched together out of lost episodes of Monty Python’s Flying Circus, circa-1976 TV ads for cheap French perfume, and late-night infomercials for CD compilations of smooth jazz." |
MaryAnn Johanson |
- |
Andrew Lloyd Webber's The Phantom of the Opera (2004) |
Click here to see the review. |
MaryAnn Johanson |
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