Splat 1.5/4 |
Cabin Fever (2003) |
" Only the true aficionado of the horror/slasher/ deadly virus/ mutant-hillbilly movie will appreciate Cabin Fever at all, much less make any sense of it." |
John Anderson |
Tomato 4/4 |
Caché (2005) |
"... a brilliantly sinister mystery fraught with guilt, deceit and denial." |
Jan Stuart |
Tomato 3.5/4 |
Cadillac Records (2008) |
"Fast, crisp and lively, the film packs a half-dozen stories into two hours with little time for melodrama or sermonizing. The dialogue is quick and sharp; short scenes make powerful points." |
Rafer Guzman |
Splat 2/4 |
Calendar Girls (2003) |
"What Calendar Girls gives us is all a bit too thin for a feature film. Or even jam." |
John Anderson |
Tomato 3/4 |
The Camden 28 (2007) |
"The Camden 28 not only examines the animating forces of protest, but also the nature of betrayal, forgiveness and, ultimately, compassion." |
Gene Seymour |
Tomato 3/4 |
Camp (2003) |
"Theater lovers will be in hog heaven." |
Jan Stuart |
Tomato 3/4 |
Candy (2006) |
"If the characters' trajectory feels pre-ordained, the actors force us to sit up and pay attention with renewed focus." |
Jan Stuart |
Splat 1.5/4 |
El Cantante (2007) |
"The vibrant music ultimately takes a back seat to the cacophonous lady at the film's misplaced center" |
Jan Stuart |
Splat 1.5/4 |
Capitalism: A Love Story (2009) |
"Proving that demagoguery can come as easily from the left as from the right, Michael Moore has produced a jerry-rigged jeremiad about free enterprise that hands up some very legitimate indictments, without really making a case." |
John Anderson |
Tomato 3.5/4 |
Capote (2005) |
"An absorbing, emotionally challenging movie out of the dubious process (in terms of dramatic potential) of literary legwork." |
Gene Seymour |
Splat |
Captain Corelli's Mandolin (2001) |
"Aspiring to melancholy wisdom and worldly significance, the movie achieves only a coy, frothy simulation of whatever we thought we loved about old-fashioned love stories." |
Gene Seymour |
Tomato 4/4 |
Capturing the Friedmans (2003) |
"Jarecki has taken an impossible subject, and subjects, and made a movie that works as crime thriller, social document and, occasionally, surrealist comedy." |
John Anderson |
Tomato 3/4 |
Caramel (2008) |
"A film of abundant heart and exquisite faces." |
Jan Stuart |
Splat 2/4 |
Carnage (2003) |
"Yet another puffed-up exercise in serendipitous storytelling." |
Gene Seymour |
Tomato 3/4 |
Cars (2006) |
"And as pop flies go, Cars is pretty to watch, even as it loops, drifts and, at times, looks as if it's just hanging in midair." |
Gene Seymour |
Splat 1.5/4 |
Casa de los Babys (2003) |
"Gets bogged down in bad dialogue, wasted acting and the most un-Saylesian thing of all, outright ignorance." |
John Anderson |
Splat 2/4 |
Casanova (2005) |
"Few pictures in recent memory have worked as laboriously as Lasse Hallstrom's new romantic farce to be a featherweight lark." |
Jan Stuart |
Splat 2/4 |
Cashback (2007) |
"How ironic that Richard Lester had to go all the way to England to make that chef-d'oeuvre of sex comedies, The Knack... and How to Get It, while Ellis stays home and churns out the British answer to American Pie." |
Jan Stuart |
Tomato 3.5/4 |
Casino Royale (2006) |
"If this franchise is indeed being reinvented (and it needed to be), it's going to be very interesting to see how Craig continues shaking and stirring his character's icy cocktail of baleful cruelty and suave assurance." |
Gene Seymour |
Splat 2.5/4 |
Cassandra's Dream (2008) |
"The impression that lingers is that of an artist clutching fast to yesterday's inspirations." |
Jan Stuart |
Tomato |
Cast Away (2000) |
"Touching." |
John Anderson |
Tomato 3/4 |
The Cat's Meow (2002) |
"Citizen Kane for fans of Agatha Christie and Liz Smith: no frills, but juicy." |
Jan Stuart |
Tomato 3/4 |
Catch a Fire (2006) |
"Director Philip Noyce and screenwriter Shawn Slovo lean heavily into the thriller aspects of Chamusso's story, leaving much of the nuance to actors Derek Luke, Bonnie Henna and Tim Robbins." |
Jan Stuart |
Splat 2/4 |
Catch and Release (2007) |
"Catch and Release has a magazine-spread polish that sometimes tricks you into thinking that it's a more distinctive romantic comedy than it actually is." |
Gene Seymour |
Tomato 3.5/4 |
Catch Me If You Can (2002) |
"A very adult, very funny, very well-acted daydream that should delight just about anyone who's ever been asked for picture ID." |
John Anderson |
Splat 2/4 |
Catch That Kid (2004) |
"Has enough character and high-tech hardware to make it watchable, if not much more than that." |
John Anderson |
Splat |
Cats & Dogs (2001) |
"The jokes are staler than day-old Fancy Feast." |
John Anderson |
Tomato 2.5/4 |
Catwoman (2004) |
"Campy, smart-and-dumb fun." |
Jan Stuart |
Tomato 3/4 |
Cautiva (2005) |
"The debut feature of Gastón Biraben, Cautiva is most potent in its first hour, as it bears witness to the disorientation and distrust experienced by a young girl whose life is suddenly turned upside down." |
Jan Stuart |
Splat 1.5/4 |
The Cave (2005) |
"Vast and unexplainable, with plenty of places to hide. You'll want to find one." |
John Anderson |
Tomato 4/4 |
Cave of the Yellow Dog (2006) |
"The dog is a cheese-stealing reprobate, but its other-worldly qualities prove very important to a film that informs as it entertains." |
John Anderson |
Splat |
The Caveman's Valentine (2001) |
"Operatic chimera and gumshoe grit make for uneasy bedfellows." |
Jan Stuart |
Tomato 3/4 |
Cavite (2006) |
"Enhanced by the you-are-there immediacy of a hand-held digital camera, Cavite works up a visceral potency that overleaps the credibility gaps in the omniscient-terrorist device." |
Jan Stuart |
Splat |
Cecil B. Demented (2000) |
"Cecil ... is far from demented enough." |
John Anderson |
Tomato |
The Cell (2000) |
"Taken on its own boldly visual terms, The Cell can be enjoyed as a stroll through a contemporary museum of your purplest imaginings." |
Jan Stuart |
Splat 1/4 |
Cellular (2004) |
"Too inept to work as what it seems to be, and not clever enough to work as a spoof -- which, if you're feeling charitable, is what you assume they intended." |
John Anderson |
Splat |
The Center of the World (2001) |
"Had Wang's movie been a little less impressed with its own world-weariness, a little less intent on trying to reshape Last Tango in Paris (or, perhaps, 9 1/2 Weeks) for the age of the Internet, he might have been on to something." |
John Anderson |
Splat 2/4 |
Cet Amour-La (2002) |
"Overwhelmed by maudlin, somewhat empty musings on Art and Life." |
Gene Seymour |
Tomato 3/4 |
Chandni Chowk to China (2009) |
"Less a Bollywood bonbon than a pan-Asian fusion dish, this combination of Indian musical and Chinese chopsocky is, nonetheless, delicious fun." |
Frank Lovece |
Splat 2/4 |
Changeling (2008) |
"A film lacking in dramatic propulsion and actorly grace from Clint Eastwood, a director usually synonymous with both." |
John Anderson |
Splat 2/4 |
Changing Lanes (2002) |
"Engaging, in a coldly intellectually fashion, but depressing sociologically, emotionally." |
John Anderson |
Tomato 3.5/4 |
Changing Times (2006) |
"[Director Andre] Techiné always locates a steadfast emotional element in the worlds he creates, a defiant human construct against unstoppable change. In Changing Times, it is love, in unfamiliar forms." |
John Anderson |
Splat 2/4 |
Chaos Theory (2008) |
"If actor Ryan Reynolds isn't careful, he's going to parlay his good looks and engaging presence into a full-time job as a game-show host." |
John Anderson |
Tomato 3.5/4 |
Charlie and the Chocolate Factory (2005) |
"This is Burton in the winking mode and full-tilt visual extravagance of his three best movies: Pee-Wee's Big Adventure, Edward Scissorhands and Ed Wood." |
Jan Stuart |
Splat 2.5/4 |
Charlie Bartlett (2007) |
"This high school dramedy feels strangely earthbound, despite an articulate script and an engaging cast." |
Jan Stuart |
Splat 2.5/4 |
Charlie Wilson's War (2007) |
"Sorkin is a deft explicator of Washington geopolitics for dummies, but he patronizes us with blunt lessons on the mujahideen and Afghanistan geography." |
Jan Stuart |
Tomato |
Charlie's Angels (2000) |
"Forty years from now, academics may want to deconstruct this movie into semiotic sushi ... For now, it's best that you turn off your brain and dip into the meringue." |
Gene Seymour |
Tomato 3/4 |
Charlie's Angels: Full Throttle (2003) |
"Full Throttle is a movie cut like a trailer -- and doesn't everyone say the trailers are better than the movies?" |
John Anderson |
Tomato 3/4 |
Charlie: The Life and Art of Charles Chaplin (2004) |
"Made with enormous affection; the Chaplinesque sentimentality, which so many silent fans cite when voicing a preference for Keaton or Harold Lloyd, is employed here, not exploited." |
John Anderson |
Splat |
Charlotte Gray (2001) |
"Listless and shockingly lifeless." |
Gene Seymour |
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