- |
Caché (2005) |
Click here to see the review. |
Ken Tucker |
Tomato |
Cadillac Records (2008) |
"The ensemble is stupendous -- howlingly great -- and the music goes deep." |
David Edelstein |
Tomato |
The Camden 28 (2007) |
"But the editing supplies some urgency, and the subjects remain radiant yet down-to-earth -- too good-humored to be beatific." |
David Edelstein |
- |
Camp (2003) |
Click here to see the review. |
Peter Rainer |
Tomato |
Capitalism: A Love Story (2009) |
"Moore relates a half-century of fraud in singsong narration that makes him seem like Mister Rogers with 200 extra pounds and a Che Guevara T-shirt instead of a cardigan. But what a figure he cuts." |
David Edelstein |
Splat |
Captain Corelli's Mandolin (2001) |
"The movie duplicates exactly my experience with the book, although I must say I was thankful to be spared serial outbreaks of hearty Greek dancing." |
Peter Rainer |
Tomato |
Cars (2006) |
"Like the Toy Story films, Cars is a state-of-the-computer-art plea on behalf of outmoded, wholesome fifties technology, with a dash of Zen by way of George Lucas." |
David Edelstein |
Tomato |
Casino Royale (2006) |
"I hope Craig finds more moments like that in Bond. And I hope he gets to wear that tuxedo again and again and again." |
David Edelstein |
Splat |
Cassandra's Dream (2008) |
"What the hell was Woody Allen thinking?" |
Sara Cardace |
Tomato |
Cast Away (2000) |
"Hanks's Everyman quality has never been more aptly utilized: He's the perfect stand-in for all of us who never made it to Eagle Scout." |
Peter Rainer |
Tomato |
Catch Me If You Can (2002) |
"Breezily enjoyable but thin." |
Peter Rainer |
Splat |
Cavite (2006) |
"A microbudget exercise in sensory overload that leaves you sick on all sorts of levels." |
David Edelstein |
- |
Cecil B. Demented (2000) |
Click here to see the review. |
Peter Rainer |
- |
Central Station (1998) |
Click here to see the review. |
Peter Rainer |
Splat |
Changeling (2008) |
"The way Eastwood shoves Jolie’s suffering in our face is like a threat to the Academy: 'And the Oscar WILL go to … ' She’s a great actress. She doesn’t need his domineering chivalry." |
David Edelstein |
- |
Charlie and the Chocolate Factory (2005) |
Click here to see the review. |
Ken Tucker |
Tomato |
Charlie Wilson's War (2007) |
"Tells a momentous story -- a story every American should know -- in a boisterous, lickety-split style that makes the history lesson go down easily." |
David Edelstein |
Splat |
Charlie's Angels (2000) |
"The cast members seem to be having a high old time, and with sharper dialogue, an even higher time might have been had by all." |
Peter Rainer |
Splat |
Che (2008) |
"The whole movie is a forced march." |
David Edelstein |
Splat |
Cheri (2009) |
"It’s not a good sign when you have to take the movie’s word for it that the lovers at its center are really, really into each other." |
David Edelstein |
Tomato |
Chicken Run (2000) |
"Fun even with your eyes closed; the jokes and Britishisms and sound effects work all by themselves." |
Peter Rainer |
Tomato |
Children of Men (2006) |
"It’s a wow." |
David Edelstein |
Tomato |
Children Underground (2001) |
"Almost unbearably sad." |
Peter Rainer |
Splat |
Choke (2008) |
"It’s bizarrely flat -- it has no affect. It’s like Palahniuk translated into Robotese." |
David Edelstein |
Tomato |
Chop Shop (2007) |
"Ramin Bahrani’s Chop Shop is a low-budget vérité triumph." |
David Edelstein |
Tomato |
Chris & Don: A Love Story (2007) |
"Primed as we are by a culture rich in both homophobia and dirty old men, we can be forgiven for anticipating a sordid cautionary tale. It’s a shock -- a happy shock -- when Chris & Don recounts a love that approaches the transcendental." |
David Edelstein |
Tomato |
A Christmas Tale (2008) |
"A Christmas Tale is a bad dream with just enough distance to give us a midwinter’s night’s laugh." |
David Edelstein |
Splat |
The Chronicles of Narnia: Prince Caspian (2008) |
"At every turn, the filmmakers go for clutter and tumult where simplicity would do -- and Adamson, to put it kindly, isn’t the fleetest of action directors." |
David Edelstein |
Splat |
Chuck & Buck (2000) |
"This odd, uneven movie, with its trumped-up ending that makes zero emotional sense given what came before, is perplexing in the extreme." |
Peter Rainer |
Tomato |
Chuck Close (2007) |
"Late director Marion Cajori’s documentary takes good advantage of intimate access to the iconic artist in an effort to chronicle the fascinating methodology behind his work." |
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Chunhyang (2000) |
Click here to see the review. |
Peter Rainer |
- |
La Ciénaga (2001) |
Click here to see the review. |
Peter Rainer |
Splat |
City by the Sea (2002) |
"A compendium of clichés about fathers and sons." |
Peter Rainer |
Splat |
City of Angels (1998) |
"The movie has its affecting moments, but the drearily inevitable has come true -- an original and rather haunting poetic conception has been turned into a literal-minded love story." |
David Denby |
Splat |
City of God (2003) |
"The distinction between the depiction of violence and its exploitation is paper-thin." |
Peter Rainer |
Tomato |
City of Men (2008) |
"City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man." |
David Edelstein |
Tomato |
Civic Duty (2007) |
"Jeff Renfroe's film stirs up some timely anxieties, including the War on Terror, racial profiling." |
Logan Hill |
Splat |
A Civil Action (1998) |
"I'm all for films that don't flow from the usual Hollywood test tubes, but A Civil Action is basically the standard formula with a dash of downbeat." |
Peter Rainer |
Splat |
CJ7 (2008) |
"Even fans of Stephen Chow should probably skip his latest, kid-friendly flick. It’s only sporadically funny, and often grating, and at some point you realize that you’ve been suckered into watching an extended advertisement for a toy." |
Logan Hill |
Tomato |
The Class (2008) |
"The Class is a true movie miracle: fragile yet indelible." |
David Edelstein |
Tomato |
Closer (2004) |
"Nichols is back, his instincts for intimacy as cutting as ever..." |
Ken Tucker |
Tomato |
Cloverfield (2008) |
"We've sat through that kind of movie again and again, but we've never sat through anything with Cloverfield's subjective sting. You'd have to be tougher than I was not to be blown sideways by it." |
David Edelstein |
Tomato |
Coach Carter (2005) |
"Saved by bursts of energy and inventiveness." |
Ken Tucker |
Tomato |
Cocaine Cowboys (2006) |
"Sure, the bombast is extreme, and, yes, it spends more time on tall tales than impact reports, but this vigorous, energetic doc captures the allure of a business that has never thrived on subtlety." |
Logan Hill |
Tomato |
Coco Before Chanel (2009) |
"As picturesque period biopics with too many symmetrical compositions go, Anne Fontaine’s Coco Before Chanel is surprisingly intimate and nuanced." |
David Edelstein |
Splat |
Code 46 (2004) |
"Their doomy romance is supposed to be fated, but it just seems sloggy, certainly not the stuff of myth." |
Peter Rainer |
Tomato |
Coffee and Cigarettes (2004) |
"What unites everything is Jarmusch's playful, hang-dog absurdism." |
Peter Rainer |
Tomato |
Cold Mountain (2003) |
"Has the big, glossy feel of a Hollywood epic that’s been worked up by experts." |
Peter Rainer |
Tomato |
Collateral (2004) |
"Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing." |
Peter Rainer |
Splat |
Collateral Damage (2002) |
"A stinker." |
Peter Rainer |
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