Tomato |
Rachel Getting Married (2008) |
"I’ve never seen a movie with this mixture of fullness and desolation. Rachel Getting Married is a masterpiece." |
David Edelstein |
Tomato |
Raising Victor Vargas (2003) |
"A comedy in the best sense -- it draws its life from the pitch-perfect authenticity of its characters." |
Peter Rainer |
Tomato |
Rambo (2008) |
"If bringing back Rocky and Rambo opens him up to more ridicule from the likes of me, it’s also the kind of challenge at which he excels. Idiotic as Rocky Balboa was, the punches landed, and Rambo works on its own debased terms, too." |
David Edelstein |
Splat |
Random Hearts (1999) |
"[Ford] plays every emotion squarely and thuddingly, as if he were a heavyweight hitting the bag." |
Peter Rainer |
Tomato |
Ratatouille (2007) |
"Brad Bird wrote and directed Ratatouille and tops his previous work. Since his work includes The Iron Giant and The Incredibles, this puts him somewhere between Chuck Jones and Michelangelo." |
David Edelstein |
- |
Ravenous (1999) |
Click here to see the review. |
Peter Rainer |
Tomato |
Ray (2004) |
"Sure, it's the Jamie Foxx breakout role. But the movie around it is so systematically 'inspirational' that it comes perilously close to sabotaging the breakout." |
Peter Rainer |
- |
Read My Lips (2002) |
Click here to see the review. |
Peter Rainer |
Splat |
The Reader (2008) |
"It appears that the filmmakers have taken Hannah Arendt’s notion of the 'banality of evil' way too literally." |
David Edelstein |
- |
The Real Blonde (1998) |
Click here to see the review. |
David Denby |
Tomato |
Rear Window (1954) |
"The clearest example of a Hitchcock movie that functions on dual levels: It's both mousetrap and abyss." |
Peter Rainer |
Splat |
Recount (2008) |
"A splendid cast mostly just sits around watching the bad news on television, dutiful to the letter of Danny Strong’s conscientious script yet insufficiently roused to righteous spirit even as, before their eyes, our republic gets banana’d." |
John Leonard |
Tomato |
Red (2008) |
"This powerful, elemental drama hits all the buttons, probably to a fault, but it’s helped along by fine performances all around." |
Sara Cardace |
Tomato |
Red Cliff (2009) |
"Any war picture in which the heroine stalls the villain with a quiet, painstaking tea ceremony until the wind shifts direction and the good guys can firebomb the bad guys into oblivion is too ineffably Zen not to love." |
David Edelstein |
Tomato |
Red Doors (2005) |
"A few of the plot threads are woven more neatly than others, but the film makes for a promising debut." |
Logan Hill |
Tomato |
Red Lights (2004) |
"The most ambiguously compelling romance around." |
Peter Rainer |
Tomato |
Redacted (2007) |
"Critics have called the movie crude and punishing. All right, the defense concedes all that, but the movie does a harrowing job of depicting the psychological toll of the occupation on both Iraqis and U.S. soldiers." |
David Edelstein |
Tomato |
Redbelt (2008) |
"So how’s the Mamet Rocky? Fast. Lively. In your face. Very watchable. And, like its predecessors, so bizarrely convoluted it barely holds together on a narrative level." |
David Edelstein |
Splat |
Reign Over Me (2007) |
"The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus." |
David Edelstein |
Tomato |
Religulous (2008) |
"Religulous has an unholy fervor that should start many bonfires." |
David Edelstein |
Splat |
Remember the Titans (2000) |
"The story is based on real incidents, but the uplifting tone is laid on so thick that it's difficult to believe a minute of it." |
Peter Rainer |
Tomato |
Rendition (2007) |
"Rendition has multiple crisscrossing plots, a cliff-hanger climax, and a strong current of hope -- that an individual’s conscience can triumph over careerism and bureaucratic moral blindness." |
David Edelstein |
- |
The Replacements (2000) |
Click here to see the review. |
Peter Rainer |
Tomato |
Reprise (2008) |
"An exhilarating weave of childhood remembrance, projection, literary digression, and impish commentary." |
David Edelstein |
Tomato |
Rescue Dawn (2007) |
"The film, Rescue Dawn, is so good it makes you wish that [director Werner] Herzog had gone Hollywood earlier in his career." |
David Edelstein |
- |
Rhythm 'n' Bayous (2001) |
Click here to see the review. |
Peter Rainer |
Splat |
Riding in Cars with Boys (2001) |
"Beverly is supposed to be a bad girl running with the wrong crowd, but most of the time she seems to be right out of a serioso episode of Laverne & Shirley." |
Peter Rainer |
- |
Rize (2005) |
Click here to see the review. |
Ken Tucker |
Splat |
The Road (2009) |
"Evocative as it is, The Road comes up short, not because it’s bleak but because it’s monotonous, and because McCarthy’s vision is finally as inflexible as his patriarchal hero’s." |
David Edelstein |
- |
The Road Home (2001) |
Click here to see the review. |
Peter Rainer |
Tomato |
The Road to Guantanamo (2006) |
"In the Gitmo depicted by filmmakers Michael Winterbottom and Mat Whitecross, all prisoners, guilty and innocent, are treated with such systematic sadism that taking one’s life is arguably a proportionate response." |
David Edelstein |
Splat |
Road to Perdition (2002) |
"The pulp shows clearly through the high-art preening: It isn't prominent enough to be fun, and the art, with few exceptions, isn't high enough to justify all the moody-blues meaningfulness." |
Peter Rainer |
Splat |
Rock Star (2001) |
"The weight of what might have been hangs heavily over the proceedings." |
Peter Rainer |
Splat |
The Rocker (2008) |
"It’s depressing when the best thing you can say about a comedy is that its second-rateness is pleasantly in sync with its unmagnetic hero." |
David Edelstein |
Tomato |
Rocky Balboa (2006) |
"Does Rocky Balboa deliver? Weirdly enough, it does: I was jumping out of my seat during Rocky’s bout." |
David Edelstein |
Tomato |
Roger Dodger (2002) |
"A fascinating, uneven first feature from the young writer-director Dylan Kidd." |
Peter Rainer |
Tomato |
The Romance of Astrea and Celadon (2007) |
"Rohmer has not succumbed to pessimism or despair in his late work, and here he is as light of touch and witty as ever." |
Tayt Harlin |
- |
Ronin (1998) |
Click here to see the review. |
David Denby |
Tomato |
The Rookie (2002) |
"What saves it is Dennis Quaid, a fine and generally underrated actor who plays a real-life small-town Texas high-school science teacher and baseball coach who fulfills his dream of pitching in the big leagues." |
Peter Rainer |
Tomato |
Rosemary's Baby (1968) |
"Get your fix of Mia Farrow looking terrified in Roman Polanski’s iconic 1968 thriller Rosemary’s Baby." |
Miranda Siegel |
- |
Rosetta (1999) |
Click here to see the review. |
Peter Rainer |
Splat |
The Royal Tenenbaums (2001) |
"Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time." |
Peter Rainer |
Tomato |
Rudo and Cursi (2009) |
"Luna and García Bernal gamely reunite for this occasionally entertaining film about two rival soccer-playing brothers, but the paint-by-numbers story line and overzealous direction do them few favors." |
David Edelstein |
Tomato |
Run Lola Run (1999) |
"Interspersed with Lola's zigzag swiftness are moments when the action shifts into trancelike tableaux." |
Peter Rainer |
Splat |
Run, Fat Boy, Run (2008) |
"I wouldn’t believe that Run Fat Boy Run was co-written by Simon Pegg if he weren’t up there on the screen in teeny briefs and with his gut stuck out, trying to endear himself to the American audience in material maybe a notch above Rob Schneider’s." |
David Edelstein |
Tomato |
Running with Scissors (2006) |
"Ryan Murphy’s jaunty screen version of Running With Scissors proves that nothing consecrates one’s depiction of a narcissistic mother like having her embodied by Annette Bening." |
David Edelstein |
Tomato |
Rush Hour (1998) |
"The movie is no more than a well-produced confection designed for quick payoff in the big cities, but it's pretty consistently funny." |
David Denby |
Tomato |
Russian Dolls (2006) |
"As energetic as the original and light as a feather." |
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