Tomato |
Facing Windows (2003) |
"In a strange way, Facing Windows harks back to the glorious dawn of Italian Neorealism 60 years ago. And yet it is luminously contemporary in its rediscovery of a long-buried past, both personal and historical." |
Andrew Sarris |
Splat |
Factory Girl (2007) |
"I doubt if it would have been considered slick or glam-sham enough to hold even Warhol’s interest in the days when he stuck the label of high art on everything that popped out of a Polaroid." |
Rex Reed |
Tomato |
Factotum (2006) |
"Factotum is right up there with Barfly as a distillation of Bukowskian badinage, despite the current film’s sketchier provenance." |
Andrew Sarris |
Tomato |
Fados (2009) |
"Casts a wondrous spell as the third installment of the Spanish director’s musical trilogy, which also includes Flamenco (1995) and Tango (1998)." |
Andrew Sarris |
Tomato |
Fahrenheit 9/11 (2004) |
"I urge all my readers to see the film and judge it for yourselves. It is, at the very least, one of the most thought-provoking releases of the year." |
Andrew Sarris |
Tomato |
Fahrenheit 9/11 (2004) |
"Undeniably galvanizing, immensely watchable and damned good filmmaking." |
Rex Reed |
Splat |
The Family Stone (2005) |
"I can’t deny the incidental pleasures of watching these talented players giving it their all, even in such a misguided project." |
Andrew Sarris |
Tomato |
The Family Stone (2005) |
"I love it dearly. I have seen it twice. I will see it again. If there is any hope for the longevity of movies, it will become an annual holiday classic." |
Rex Reed |
Tomato |
Fantastic Mr. Fox (2009) |
"Visually, its a true marvel. Perhaps best of all, it feels like something entirely new." |
Sara Vilkomerson |
Tomato |
Far From Heaven (2002) |
"Well worth seeing for its visual approximation of the Douglas Sirk–Ross Hunter 'women's pictures' of the 50's." |
Andrew Sarris |
Tomato |
Far From Heaven (2002) |
"Every element in Far From Heaven harmonizes, in the kind of colossal achievement that revives my faith in movies and keeps me coming back for more." |
Rex Reed |
Splat |
Fascination (2005) |
"Contrived and pointless." |
Rex Reed |
Tomato |
The Fast Runner (2002) |
"It's creatively authentic, and its creators are also its subject." |
Andrew Sarris |
- |
Fast, Cheap, & Out of Control (1997) |
Click here to see the review. |
Andrew Sarris |
Tomato |
Fat Girl (2001) |
"The movie is hard and implacable, but worth seeing." |
Andrew Sarris |
Tomato |
Fateless (2006) |
"More than just another Holocaust memoir, Fateless is something special: an unforgettable portrait of grief and hope, loss and transcendence." |
Rex Reed |
Tomato |
Fear and Trembling (2004) |
"In what is essentially a two-actress vehicle, Ms. Testud and Ms. Tsuji are letter-perfect in capturing all the shadings of their characters' passionately perverse relationship." |
Andrew Sarris |
Tomato |
Feast of Love (2007) |
"An exquisite tapestry of interlocking love stories, some of which end happily, some sadly, some farcically and one quite tragically. Throughout all the shifting moods, no single narrative disrupts the well-paced flow of the film as a coherent whole." |
Andrew Sarris |
Splat |
Fellini I'm a Born Liar (2003) |
"Presents a very limited and limiting view of the film artist whose massively influential achievements in the cinema gave rise to the adjective 'Fellini-esque.'" |
Andrew Sarris |
Tomato |
Felon (2008) |
"The stuff that happens in a tense, taut new movie called Felon is nothing less than electrifying." |
Rex Reed |
Tomato |
Festival in Cannes (2002) |
"Daffy, engrossing, enlightening and entertaining." |
Rex Reed |
Tomato |
Fighter (2001) |
"A fascinating real-life narrative documentary of two men who become friends in America after having taken two different paths to survive the Holocaust that consumed the rest of their families." |
Andrew Sarris |
Tomato |
Final (2001) |
"Mr. Leary and Ms. Davis are first-rate." |
Andrew Sarris |
Tomato |
Find Me Guilty (2006) |
"[Lumet's] crowning masterpiece." |
Andrew Sarris |
Tomato |
Find Me Guilty (2006) |
"Excellent, polished, meticulously researched and entirely galvanizing." |
Rex Reed |
Tomato |
Finding Home (2003) |
"Honest and relevant, intense and riveting, it’s a cause for rejoicing." |
Rex Reed |
Tomato |
Finding Neverland (2004) |
"Finding Neverland establishes its limits and then transcends them to provide a glorious entertainment for this holiday season." |
Andrew Sarris |
Splat |
Finding Neverland (2004) |
"It's harmless cotton candy with pleasant turn-of-the-century décor, but I admit the Disney ambiance eventually wore me out and I spent a lot of time looking at my watch." |
Rex Reed |
Tomato |
Firewall (2006) |
"Firewall is barely worth seeing, despite its above-average cast." |
Andrew Sarris |
Tomato |
Firewall (2006) |
"It kept me alert, terrified and royally entertained." |
Rex Reed |
Tomato |
First Snow (2007) |
"First Snow is a very worthy first film, and one that lingers in the mind long after the final fade-out." |
Andrew Sarris |
Tomato |
A Fistful of Dynamite (1971) |
"The combination of Leone's obsessive close-ups, Ennio Morricone's melodious music, and the comradely chemistry of Coburn and Steiger ignite an emotional explosion comparable to that of Once Upon a Time in the West." |
Andrew Sarris |
Splat |
Five Minutes of Heaven (2009) |
"Could benefit from a little less of the balanced historical context and a little more of the movie madness of Quentin Tarantino." |
Rex Reed |
Tomato |
The Five Obstructions (2004) |
"A special auteurist treat that's easier to enjoy than to describe or categorize." |
Andrew Sarris |
Tomato |
Flags of Our Fathers (2006) |
"[Captures] the spirit of our time with its mixture of cynicism and idealism, irony and conviction, satiric skepticism and red-blooded patriotism." |
Andrew Sarris |
Tomato |
Flags of Our Fathers (2006) |
"Brilliantly conceived, articulately written, sensitively acted, filled with deeply penetrating emotions and breathtaking action, it is the greatest cinematic canvas of war since Saving Private Ryan." |
Rex Reed |
Tomato |
Flanders (2006) |
"From the evidence of Flanders, Mr. Dumont’s career demands further study on my part should the opportunity arise." |
Andrew Sarris |
Tomato |
Flannel Pajamas (2006) |
"Mr. Lipsky needs more than two hours -- and many highly articulate conversations -- to get his co-protagonists to the breaking point. Yet the warning signs are there from the beginning." |
Andrew Sarris |
Splat |
Flash of Genius (2008) |
"Too much technical information about circuit boards, Motorola transistors and U.S. patent laws eventually takes up more screen time than Kearns’ sympathetic story, leaving the viewer restless and bored." |
Rex Reed |
Splat |
Flawless (2007) |
"Flawless is anything but." |
Rex Reed |
Splat |
Flightplan (2005) |
"[Foster’s] such a valuable commodity that I wish she’d spend her time making better movies." |
Rex Reed |
Tomato |
The Flower of Evil (2003) |
"I would prefer to think of it as a masterly work of the artist's late period rather than as the tired product of his old age." |
Andrew Sarris |
Tomato |
Flyboys (2006) |
"The result guarantees a thrill a minute for all ages, and a few tears, too, in an old-fashioned kind of war movie with heart (in the best kind of tradition) that keeps you on the edge of your seat with your mouth wide open." |
Rex Reed |
Tomato |
Focus (2001) |
"In its simple, calm, understated way, Focus packs a big punch." |
Rex Reed |
Tomato |
The Fog of War (2003) |
"Emerges as a fascinating enterprise that evokes nothing so much as Victor Hugo's 'dialogue of the deaf' in The Hunchback of Notre Dame." |
Andrew Sarris |
Splat |
Food of Love (2002) |
"I suspect that there are more interesting ways of dealing with the subject." |
Andrew Sarris |
Splat |
Fool's Gold (2008) |
"The movie lost me right from the beginning, when I couldn’t accept any of its plot premises and didn’t believe in any of its characters." |
Andrew Sarris |
Splat |
For Your Consideration (2006) |
"The theory of comedy that applies here is that even the most talented people in the world cannot turn back the clock on an outdated concept." |
Andrew Sarris |
Splat |
The Forgotten (2004) |
"Moore is too precious a commodity to fritter away her time and talent on a no-thrills thriller as bland and superficial as The Forgotten." |
Rex Reed |
Splat |
The Fountain (2006) |
"Mr. Aronofsky’s outlook on life remains too constantly pessimistic for my taste, and too completely joyless as well." |
Andrew Sarris |
IGN RSS Feeds
