Tomato |
F For Fake (1976) |
"Welcome to the philosophical fun house that is F for Fake, stuffed full of questions about the nature of art and authorship, illusion and reality, lies and truth." |
Glenn Abel |
Tomato |
Faat-Kiné (2001) |
"It is nothing less than a witty, sophisticated comedy of manners, African style." |
Frank Scheck |
Tomato |
Face (2004) |
"[Pan's] actors are exceptional." |
Kirk Honeycutt |
Splat |
Facing Windows (2003) |
"This too-sentimental drama does feature a sterling performance by Giovanna Mezzogiorno as a love-struck housewife dissatisfied with her lot, thus providing the only watchable element of an otherwise disappointing movie." |
Richard James Havis |
Tomato |
Factory Girl (2007) |
"Director George Hickenlooper captures the energy and ultra-irony of Warhol's scene, but his attempts to give the film a conventional biopic arc end up wallowing in dime-store psychology." |
Sheri Linden |
Tomato |
Factotum (2006) |
"Bent Hamer mostly gets it right in Factotum, a sweetly observed character study" |
Ray Bennett |
- |
Fade to Black (2001) |
Click here to see the review. |
|
Splat |
Fahrenheit 9/11 (2004) |
"Even if one agrees with all of Moore's arguments, the film reduces decades of American foreign policy failures to a black-and-white cartoon that lays the blame on one family." |
Kirk Honeycutt |
Splat |
Failure to Launch (2006) |
"Stars Matthew McConaughey and Sarah Jessica Parker put as much energy, winning smiles and comic business into their roles as possible, but it's a no-go from the start." |
Kirk Honeycutt |
- |
Faintheart (2008) |
"Faintheart Set for MySpace Debut" |
|
Tomato |
Fair Play (2006) |
"[Bailliu's] corrosive humor will endear the movie to all those who enjoy the sight of the French behaving badly." |
Bernard Besserglik |
Splat |
Faithless (2001) |
"These three adults are all sick puppies. But neither the actors nor their director has created any reason for one to care." |
Kirk Honeycutt |
Splat |
Fall (1997) |
"An essentially straight-faced story about a cocky New York cabbie (Schaeffer) who gets into a hot and heavy affair with a European supermodel." |
|
Splat |
The Fall (2008) |
"Tarsem and his screenwriting collaborators aren't able to come up with enough interesting justifications for their sudden shifts, and soon the shape-shifting yarn just feels like lazy storytelling." |
John DeFore |
Splat |
Fallen Heroes (2007) |
"Cryptic but not engaging, and with a painfully loud and ugly sound mix, the film, which screened In Competition at the Venice International Film Festival, is unlikely to travel far beyond its home market." |
|
Splat |
Falling (2007) |
"It's all quite noisy, but there doesn't seem to be very much going on as the shared confidences and female bonding are not especially convincing." |
Ray Bennett |
Splat |
Falling (2007) |
"It's all quite noisy, but there doesn't seem to be very much going on as the shared confidences and female bonding are not especially convincing." |
Ray Bennett |
- |
Fame (1980) |
"Five Fame Faculty Added" |
|
- |
Fame (1980) |
"Thomas Dekker Wants Fame" |
|
- |
Fame (1980) |
"Fame Remake Rounds Out Cast" |
|
Splat |
Fame (2009) |
"Tancharoen doesn't weave the stories together gracefully, and the musical sequences are edited in the chop-chop MTV style that does no favors to the performers." |
Stephen Farber |
Splat |
Fame (2009) |
"Rated PG, it's almost laughably bland and watered-down in its desire to appeal to the widest possible audience." |
Stephen Farber |
Tomato |
Familia (2005) |
"Steering well clear of soap opera, the film offers a slice of life that women will surely recognize and men would no doubt benefit from seeing." |
Ray Bennett |
Splat |
A Family Affair (2003) |
"Suffers from inexperienced filmmaking and a self-absorbed lead character who fails to elicit any truly tangible degree of audience sympathy." |
Michael Rechtshaffen |
Splat |
The Family Friend (2006) |
"The film fails singularly to provide any character worth caring about." |
Ray Bennett |
- |
Family Law (2006) |
Click here to see the review. |
|
Splat |
Family Law (2006) |
"There are nuggets of truths to discover, but where's the drama?" |
Kirk Honeycutt |
Tomato |
The Family Man (2000) |
"Ratner ... mines the story's comedic and wistful elements effectively while avoiding the potential mush factor." |
Michael Rechtshaffen |
Splat |
The Family Stone (2005) |
"The Family Stone spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging." |
Sheri Linden |
- |
Fanboys (2009) |
"Fanboys Writer Heading to Thundercade" |
|
Splat |
Fanfan la Tulipe (2003) |
"It wanders sadly through routine action sequences, mixing slapstick with derring-do yet never generating any wit or romance." |
Kirk Honeycutt |
Tomato |
Fanny and Alexander (1982) |
"Utterly enthralling." |
Douglas Pratt |
Tomato |
Fantasia 2000 (1999) |
"Firmly re-establishes that studio's leadership in animation at the dawn of the new century." |
Kirk Honeycutt |
Splat |
Fantastic Four (2005) |
"In trying to nail just the right mix of comic book action, comedy and pathos, the movie emerges as a tone-deaf mishmash of underdeveloped characters, half-baked humor and unhatched plotting drenched in CGI overkill." |
Michael Rechtshaffen |
Splat |
The Fantastic Four: Rise of the Silver Surfer (2007) |
"Maybe it has something to do with seriously diminished expectations, but Fantastic Four: Rise of the Silver Surfer is an improvement of sorts over the lifeless 2005 edition." |
Michael Rechtshaffen |
Tomato |
Fantastic Mr. Fox (2009) |
"Although sometimes too sly for its own good, this great-looking carnivorous caper brings Wes Anderson's whimsical melancholy to a kids' classic." |
Sheri Linden |
Splat |
Far From Heaven (2002) |
"Despite the terrific look and perfectly pitched performances by leads Julianne Moore, Dennis Quaid and Dennis Haysbert, there's a camp undercurrent that keeps interfering with any real dramatic impact." |
Michael Rechtshaffen |
Tomato |
Far Side of the Moon (2005) |
"An achingly eloquent rumination on our place in the universe." |
Michael Rechtshaffen |
Tomato |
Farmingville (2004) |
"The strength of the film is its presentation of a complex national issue as it rears its ugly head on a local level." |
James Greenberg |
Splat |
Fascination (2005) |
"Klaus Menzel's laughable screenplay is not enhanced by direction not much more accomplished than that of a typical Cinemax late-night adult series." |
Frank Scheck |
Tomato |
Fast & Furious (2009) |
"All four films feature terrific stunts. But Fast & Furious is the first film since the original to be smart about how far to stretch logic without sacrificing the desired macho swagger and revved-up emotions." |
Kirk Honeycutt |
Tomato |
The Fast and the Furious (2001) |
"Has B-movie grit, with sexy young actors, even sexier cars and the smarts to realize a teen movie will only work if you empathize with its characters." |
Kirk Honeycutt |
Tomato |
The Fast and the Furious: Tokyo Drift (2006) |
"So what if the movie dumbs down Japanese culture to a bad yakuza movie and features Japanese characters who can barely speak Japanese? The cars are the stars here. Everything else is lost in translation." |
Kirk Honeycutt |
Splat |
Fast Food Nation (2006) |
"Fast Food Nation is punchless." |
Kirk Honeycutt |
Tomato |
Fast Food, Fast Women (2001) |
"A delightfully irreverent romantic comedy." |
|
Tomato |
The Fast Runner (2002) |
"The acting, costumes, music, cinematography and sound are all astounding given the production's austere locales." |
David Hunter |
Splat |
Fat Albert (2004) |
"Squandering comic opportunities at every turn, the film is content to adhere to a mantra of 'when in doubt, dance' rather than finding any clever entertaining ways to punctuate the prolonged moralizing." |
Michael Rechtshaffen |
Splat |
Fat Girls (2007) |
"Too crudely executed to make much of an impact." |
Frank Scheck |
Tomato |
Fateless (2006) |
"A distinguished addition to the canon of Holocaust-themed cinema, Lajos Koltai's Fateless is both haunting and poetic." |
Frank Scheck |
Splat |
Father and Son (2004) |
"The opacity of the characters and situations prevents the film from having any true emotional impact." |
Frank Scheck |
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