Splat |
O (2001) |
"Very little seems to work, or matter, or make much sense." |
John Anderson |
Tomato |
O Brother, Where Art Thou? (2000) |
"Hilarious, homely, infuriating, ingenious, literary and looney." |
John Anderson |
Tomato 2.5/4 |
O Jerusalem (2007) |
"The performances are all good, and there's enough history in O Jerusalem to float a boat of refugees." |
John Anderson |
Tomato 3.5/4 |
Oasis (2004) |
"Strange and beautiful film about an ex-con and a disabled girl whose odd bond brings them briefly out of the dark." |
John Anderson |
Tomato 2.5/4 |
Observe and Report (2009) |
"For better or worse, the weirdest, wildest comedy of the year so far." |
Rafer Guzman |
Splat |
Ocean's Eleven (2001) |
"Despite a lot of snappy dialogue supplied by screenwriter Ted Griffin, Ocean's Eleven bogs down in technological minutiae, pointless set pieces that aren't very funny and by indulging the urge to constantly sell itself." |
John Anderson |
Tomato 3/4 |
Ocean's Thirteen (2007) |
"For two hours, life as you drearily know it is effectively suspended and a summery delirium takes over. This may be one of the busiest movies ever made, but Soderbergh keeps the activity percolating with a fizzy arsenal of retro editing flourishes." |
Jan Stuart |
Splat 2/4 |
Ocean's Twelve (2004) |
"Please, no questions of logic." |
John Anderson |
Tomato 2.5/4 |
Off the Black (2006) |
"Writer-director James Ponsoldt filters old-shoe comfort and easy-does-it drollery through what could have been a downbeat inquiry into the ways men of all ages avoid saying what they really feel." |
Gene Seymour |
Splat 2.5/4 |
Off the Map (2005) |
"Reveals its stage roots through prosaic narration (by Amy Brenneman, as the grown-up Bo) and metaphor-laden dialogue." |
Jan Stuart |
Tomato 4/4 |
Offside (2006) |
"For all its implicit politics, Offside is a pure joy; the young women are feisty and lovable. One can even imagine a few imams chuckling through their beards." |
John Anderson |
Splat .5/4 |
The Oh in Ohio (2006) |
"Eventually, the oh's becomes 'zzzzzz's.'" |
Stephen Williams |
Tomato 3/4 |
Old Joy (2006) |
"Every frame of Old Joy bespeaks a yearning for a more user-friendly day, when gas was less than $2.50 a gallon and there was always a used record store to unload your scratched vinyl." |
Jan Stuart |
Splat 1.5/4 |
Old School (2003) |
"An unkempt clearinghouse for cheap, throwaway laughs. For those who regard that as a recommendation, two words: Grow up." |
Gene Seymour |
Splat 2.5/4 |
Oldboy (2005) |
"You will either feel mollified by the hysterically moral denouement or feel offended by the filmmaker's strategy of debasement, which reduces the audience to the mongrel-like prostration of its protagonist." |
Jan Stuart |
Tomato 3/4 |
Oliver Twist (2005) |
"It still stings in unlikely places." |
Gene Seymour |
Splat 2/4 |
The Omen (2006) |
"There seems little rationale for Omen '06 except to resuscitate a brand name that carried enough pop-culture clout in Watergate's aftermath to inspire a host of gnarly sequels." |
Gene Seymour |
Tomato 2.5/4 |
On A Clear Day (2006) |
"Mullan makes Frank a complex, proud and wounded man, a reluctant dreamer who is both melancholic and inspiring. Not a great film, but all the performances are smart." |
John Anderson |
Splat 2.5/4 |
On the Run (1998) |
Click here to see the review. |
|
Splat 2.5/4 |
On the Run (2002) |
"Technically adept but alienating." |
Jan Stuart |
Tomato 4/4 |
Once (2007) |
"No matter what your musical tastes, Once will reinforce your belief in the power of melody and harmony to heal one's inner wounds." |
Gene Seymour |
Tomato 2.5/4 |
Once in a Lifetime: The Extraordinary Story of the New York Cosmos (2006) |
"Told in a breezy, fast-cut style, and backed by a boisterous soundtrack that ranges from Puccini to James Brown, Lifetime focuses on the players -- on the field and off -- that made the Cosmos such a super, if short-lived, team." |
Stephen Williams |
Splat |
Once in the Life (2000) |
"In opening up his play for a filmed version, Once in the Life, Fishburne may have only succeeded in magnifying the flaws of his original." |
Gene Seymour |
Splat 2.5/4 |
Once Upon a Time in Mexico (2003) |
"A movie that goes so wrong so abruptly it's as if a meteor were heading for the set and everyone had to evacuate." |
John Anderson |
Tomato 2.5/4 |
Once Upon a Time in the Midlands (2003) |
"The acting is superb." |
John Anderson |
Tomato 3/4 |
One Hour Photo (2002) |
"Mark Romanek's creepy, oddly humane debut thriller is not your usual Williams day at the beach: Leave the automatic laugh track at home." |
Jan Stuart |
Splat 2.5/4 |
One Missed Call (2003) |
"There is something uniquely delicious in what the film says about the desperation of some cell users." |
Jan Stuart |
Splat 2/4 |
One Missed Call (2008) |
"Given all the hoopla over the Apple iPhone, it's a wonder that no one has yet complained over an essential missing feature: It doesn't ring you up to alert you that you are going to die." |
Jan Stuart |
Splat |
One Night at McCool's (2001) |
"Straining for a sense that a good time was had by all." |
John Anderson |
Splat 2.5/4 |
One Third (2006) |
"Kim has his cast emulate the melodramatic performance style of D.W. Griffith-era silents, but at some point this begins to torture the film into self-parody." |
John Anderson |
Splat 2/4 |
One to Another (2007) |
"The flaw is underscored by the one-bod-fits-all casting that renders everyone indistinguishable, especially when they have their clothes off (which is a good deal of the picture)." |
Jan Stuart |
Tomato 3/4 |
Only Human (2006) |
"Sounds like basic sitcom stuff. But the story is carried out with a composure best exemplified by the performance of Toledo, an agile and graceful comic actor who sometimes suggests an owlish Cary Grant." |
Gene Seymour |
Splat 2/4 |
Only the Strong Survive (2003) |
"Content to merely serve as a cluttered, heart-shaped scrapbook, missing many more stories than it bothers to include." |
Gene Seymour |
Tomato 2.5/4 |
Onmyoji (2001) |
"Crazier than a rat in a can, but certainly fun." |
John Anderson |
Splat 2.5/4 |
On_Line (2002) |
"Take away the computers and DSL lines and it's the 1950s of Jules Feiffer and Mike Nichols and Elaine May all over again, without the shrewdness and bite." |
Gene Seymour |
Tomato 2.5/4 |
Opal Dream (2006) |
"A fable, and as such carrying few surprises, Opal Dream features solid acting and likable characters." |
John Anderson |
Splat 2.5/4 |
Open Range (2003) |
"The actors are so good that you could almost live with the man's- gotta -do-what -a-man's -gotta-do excesses of Craig Storper's script." |
Gene Seymour |
Splat 2/4 |
Open Season (2006) |
"It looks good; at times, even great. In fact, Open Season shimmers so much in strictly visual terms that its dearth of genuine wit or ingenuity is almost physically painful to acknowledge." |
Gene Seymour |
Tomato 3.5/4 |
Open Water (2004) |
"A gut-clutching plunge into primal-fear territory that is no less unsettling for having been made on a flipper and a prayer." |
Jan Stuart |
Splat |
The Operator (2001) |
"The closer we get to unveiling Shiva ... the more ludicrous a conceit she becomes." |
Jan Stuart |
Tomato |
Orange County (2002) |
"A modestly surprising movie." |
Gene Seymour |
Tomato |
The Original Kings of Comedy (2000) |
"Mac fires his comic salvos with the authoritative ease of a champion boxer." |
Gene Seymour |
Tomato 3/4 |
Orphan (2009) |
"A thoroughly enjoyable demon-spawn movie in the tradition of The Bad Seed (1956) and The Other (1972)." |
|
Tomato 3/4 |
The Orphanage (2007) |
"Plot details only hint at the subtle metaphors lurking in Sergio G. Sánchez's script and the gut-wrenching jolts elegantly orchestrated by first-time director Juan Antonio Bayona." |
Gene Seymour |
Tomato 2.5/4 |
The Other Boleyn Girl (2008) |
"Beneath the thundering horse hoofs and happy wedding fiddles is a viper's nest of sexual intrigue that would be at home on Desperate Housewives." |
Jan Stuart |
Tomato 3/4 |
The Other Side of the Street (2005) |
"What begins as a geriatric Rear Window opens into a poignant tale of autumnal intimacy." |
Jan Stuart |
Splat |
The Others (2001) |
"Creepy-verging -on-campy thriller with a great payoff, but a lot of broken promise." |
John Anderson |
Tomato |
Otomo (2001) |
"The messages about racism get a bit ham-handed, but the acting and sense of dread are powerful." |
John Anderson |
Tomato 3/4 |
Our Brand Is Crisis (2005) |
"Boynton maintains a relatively level tone and clear eye and, thus, allows her audience to ask some hard questions about whether our democratic process translates all that clearly in other countries." |
Gene Seymour |
Tomato 3/4 |
Our Daily Bread (2006) |
"An alarming vision of the antiseptic order we have created around the business of stocking our fridge." |
Jan Stuart |
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