Tomato |
Macbeth (2007) |
"After a few early spins in his grave, Shakespeare may end up grudgingly respectful" |
|
Splat |
Madagascar: Escape 2 Africa (2008) |
"The same as Madagascar 1 only louder and longer. Zoo animals escape into the wild. The only one you would want to spend time with is Sacha Baron Cohen’s lemur, and even then only if you could bring your own script." |
|
- |
The Magic Flute (2006) |
"Set on the battlefields of the Great War – very high-concept – it will drive many Mozart traditionalists to distraction." |
Nigel Andrews |
- |
The Magic Flute (2006) |
"Set on the battlefields of the Great War – very high-concept – it will drive many Mozart traditionalists to distraction." |
Nigel Andrews |
Tomato |
The Magic Flute (2006) |
"The film is fresh, spectacular and unafraid to be called philistine." |
Nigel Andrews |
Splat |
The Man from London (2008) |
"You will find the film either desperately depressing or perversely hypnotic. Or you might find it both simultaneously." |
Nigel Andrews |
Splat |
Man of the Year (2006) |
"There are good moments, although it doesn’t work properly either as a satirical thriller or a rom-com." |
Karl French |
Tomato |
Man On Wire (2008) |
"James Marsh’s film is brilliantly achieved and assembled." |
|
Splat 2/5 |
Management (2009) |
"Unable to decide between being a romantic comedy, a zany farce or a thoughtful study of two emotionally repressed losers finding fulfilment, it ends up a mess; but an intriguing mess." |
Martin Hoyle |
Splat |
Margot at the Wedding (2007) |
"There is such a thing as binge pessimism. It happens when one living disaster area, considered insufficient in a story, is served up with several others, causing audience braincells to swirl, stagger and collide against thalamic lampposts." |
Nigel Andrews |
Splat |
Marigold (2007) |
"Bollywood cheerfully meets – not Hollywood, exactly, more straight-to-video." |
Martin Hoyle |
Tomato 3/5 |
The Mark of an Angel (2008) |
"There are flaws in plotting and pacing but this is always interesting." |
Karl French |
Splat |
Max Payne (2008) |
"Mark Wahlberg glooms about the land in the latest computer-game makeover, a noir action thriller of such scowling, benighted violence that it could send manic depressives over the edge and make newcomers to that condition of us all." |
Nigel Andrews |
Tomato 4/5 |
Me and Orson Welles (2009) |
"Look at Mackay. Look at the handsome-pudgy features, listen to the rolling bass voice, appraise the twinkling eye, marvel at the offhand flourishes of the titanic frame. This is Welles." |
Nigel Andrews |
Splat 1/5 |
The Men Who Stare at Goats (2009) |
"The film starts hopefully, drifts into the desert, ends up starved of point, pith and pattern." |
Nigel Andrews |
Tomato 4/5 |
The Merry Gentleman (2009) |
"Keaton is good, McDonald with her spooky equanimity and still-waters profundity even better. Sartre’s Huis Clos? Forget that. This is hell, as moodily atmospheric as low-budget screen infernos get." |
Nigel Andrews |
Tomato 4/5 |
Mesrine: Killer Instinct (2009) |
"Cassel’s Jacques Mesrine is pieced together from gritty shards of believability, a street-real mosaic no one tries to smooth and polish. For that reason he and it have the sharp edges and septic menace of life." |
Nigel Andrews |
Tomato 3/5 |
Mesrine: Part 2 - Public Enemy #1 (2009) |
"All the world loves an outlaw. But how cheaply is that love won if all his partners and opponents have been drafted in from Dullsville-sur-Seine?" |
Nigel Andrews |
Tomato |
Michael Clayton (2007) |
"A potentially corny plot is stylishly executed, abetted by a perfect cast." |
Martin Hoyle |
Tomato 4/5 |
Mid-August Lunch (2009) |
"[An] exquisite, coralled miniature." |
Nigel Andrews |
Tomato |
A Mighty Heart (2007) |
"The film opts to depict a single but reverberant tragedy and does so with force, skill and a memorable central performance." |
Nigel Andrews |
Tomato |
Milk (2008) |
"Add Penn’s uncannily three-dimensional performance, his best yet, and Milk is a masterclass on how a political biopic can become rich, humane, encompassing cinema." |
Nigel Andrews |
Tomato |
Mirrors (2008) |
"Some credit for this stylish screamer goes to Sutherland, forming his doughy-handsome features into an emotional punchbag. More credit goes to Nemec, sowing a harvest of dark invention in the vast spaces." |
Nigel Andrews |
Splat 1/5 |
Miss March (2009) |
"A dire gross-out comedy that tackles many of the same themes as Adventureland but without an ounce of subtlety or wit." |
|
Splat |
Miss Pettigrew Lives for a Day (2008) |
"American Lee Pace, from TV’s Pushing Daisies, manages not one but several creditable English accents, sometimes unfortunately all in the same sentence, but whose emotional depth shows up this ball of fluff as insubstantial. Forgettable." |
Martin Hoyle |
Tomato |
Moliere (2007) |
"It is all jolly, harmless and amusing – at least until we get back to the “real” France and the ornate wallpaper starts shimmering again." |
|
Splat 2/5 |
Monsters vs. Aliens (2009) |
"This Easter digimation romp is big on action and slapstick, small on charm, tiny on wit and endurability; unless you are nine, when anything goes." |
Nigel Andrews |
Splat |
Moon (2009) |
"Psychedelic sci-fi? Glam rock goes off-world? No: wordy and overwrought like a radio play in space." |
Nigel Andrews |
Splat |
Mr. Brooks (2007) |
"Kevin Costner as a schizophrenic serial killer? Demi Moore as a hardboiled police detective? No, we don’t think so." |
Nigel Andrews |
Splat |
Mr. Magorium's Wonder Emporium (2007) |
"No wise child, let alone grown-up, will touch this with a turkey baster." |
Nigel Andrews |
Splat 2/5 |
Mr. Right (2009) |
"Agay romantic comedy that earns 10 points for PC outreach work and one for wit." |
Nigel Andrews |
Splat |
Mutant Chronicles (2009) |
"When the ridiculous and the sublime come within kissing distance like this, you know that, script or no script, Hollywood has found a way to have a wonderful time." |
Nigel Andrews |
Splat |
My Blueberry Nights (2008) |
"A script with terminal shortcomings – wincingly winsome, ferally fey – is negotiated by brave actors picking their way through the minefield." |
Nigel Andrews |
Splat 1/5 |
My Life in Ruins (2009) |
"Think of Shirley Valentine and take away charm, wit, realism and Pauline Collins." |
Nigel Andrews |
Splat |
My Sister's Keeper (2009) |
"By the end we are screaming to yank our engines away from the forecourt as fuel spills – all that piano music, that gilded lighting, those glycerine tears – threatening a pyre of sense, sensibility and supersensitive subject choice." |
Nigel Andrews |
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