Tomato 2.5/4 |
Ma Mere (2005) |
"Garrel's performance here reveals Bernardo Bertolucci's The Dreamers for the featherweight fantasy that it was. Ma Mère may appear grungier on the surface, but its themes run far deeper." |
Peter Debruge |
Splat 1.5/4 |
The Machinist (2004) |
"It's more of an idea, like the premise for a Twilight Zone episode or the skeleton of a 20-minute short film awkwardly stretched to feature length." |
Peter Debruge |
Tomato 3/4 |
Madagascar (2005) |
"It's a brisk and lively getaway with genuine personality." |
Peter Debruge |
Tomato 2.5/4 |
Madame Sata (2003) |
"In this vibrant character study, newcomer Lázaro Ramos plays Francisco with an almost animal intensity, a reflection of the man's volatile and ambiguous spirit, where any given event seems equally likely to end in either a cathartic fit of laughter or a s" |
Peter Debruge |
Tomato |
Mafioso (1962) |
"Uproariously delightful... Mafioso isn't a straight black satire of Sicilian culture so much as a suspenseful near-tragedy leavened by the zesty, irreverent wit that helped define the golden age of Italian comedies." |
Aaron Hillis |
Tomato 3.5/4 |
The Magdalene Sisters (2003) |
"The film is beautifully acted by all, but Nora-Jane Noone, as the sloe-eyed orphan Bernadette, is first among equals here, and a genuine find." |
Glenn Kenny |
- |
Maid in Manhattan (2002) |
Click here to see the review. |
|
- |
The Majestic (2001) |
"After The Shawshank Redemption and The Green Mile, Darabont welcomed the chance to direct a movie that doesn't involve 'conversations through bars,' he says." |
|
Splat 2/4 |
Malibu's Most Wanted (2003) |
"But despite its inane premise, fuzzy shape, and broad TV-land characters, Jamie Kennedy's latest experiment is ?%*@&!* hilarious." |
Brooke Hauser |
Splat 1/4 |
Mambo Italiano (2003) |
"A half-hour sitcom stretched into an unfathomable 90 minutes of played-out ethnic caricatures that should land the entire cast a lifelong ban from Italian pride parades." |
Addison MacDonald |
Tomato 2.5/4 |
Mamma Mia! (2008) |
"Before plunking down your cash for a ride on the Mamma Mia! express when it pulls into town, just ask yourself one question: Do I really dig ABBA?" |
Emily Rems |
Splat 1/4 |
Man of the Year (2006) |
"Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed Wag the Dog." |
Ethan Alter |
Splat 1/4 |
Man on Fire (2004) |
"...based on its ratio of production costs to quality alone, [Man on Fire] may prove to be the worst movie of 2004." |
Aaron Hillis |
Tomato 3/4 |
Man on the Train (2003) |
"Could the globalization of cinema be responsible for the diminishing emotional impact of Patrice Leconte’s Man on the Train?" |
Aaron Hillis |
- |
The Man Who Wasn't There (2001) |
"The sumptuous-looking film, which won Joel a share of the Best Director award at Cannes, was shot on color stock and transferred to black and white." |
|
Tomato 4/4 |
The Man Who Wasn't There (2001) |
"The most engrossingly eccentric American movie of the year." |
Glenn Kenny |
- |
The Man Without a Past (2003) |
Click here to see the review. |
Glenn Kenny |
- |
The Manchurian Candidate (1962) |
Click here to see the review. |
|
Tomato 4/4 |
The Manchurian Candidate (2004) |
"Demme here shows off both the mastery of suspense that made The Silence of the Lambs a classic, and the humane understanding and appreciation of character that not just deepens but energizes this film." |
Glenn Kenny |
Tomato |
Manderlay (2006) |
"[von Trier's] most streamlined and subversive provocation to date... Be wary of any critic who attacks the filmmaker instead of addressing the film itself." |
Aaron Hillis |
Tomato 2.5/4 |
Manic (2003) |
"The film’s blurry camerawork, jumpy editing, and oversaturated hues are annoying and distracting." |
Kelly Borgeson |
Tomato 3/4 |
Manito (2003) |
"The movie barrels painfully through increasing misfortunes ... leaving filmgoers to walk out with the rawest of reactions." |
Alex Kranz |
- |
March of the Penguins (2005) |
Click here to see the review. |
|
Tomato 3.5/4 |
Maria Full of Grace (2004) |
"In Marston's film, New York appears as it actually does, a concrete jungle billowing smoke, noise, and confusion. Somewhere within, opportunity lies, but there's no travel-brochure guarantee to ensure that Maria will find it." |
Peter Debruge |
Tomato |
Marie Antoinette (2006) |
"A fun fantasy frolic... ambitiously stylized... [but] too light and hermetically sealed in the minds of Coppola and her queen to transcend its artfully cared-for fluffiness." |
Aaron Hillis |
Splat 2.5/4 |
Marley & Me (2008) |
"Kids and adults will like it, but be forewarned -- it's not all laughs." |
Olivia Putnal |
Splat 1/4 |
Martian Child (2007) |
"It's a bit creepy, since [Dennis's] "quirks" are an unaddressed cry for help in this generic tonal mess that switches to light rom-com mode whenever any of its complicated-fatherhood drama starts to get too realistically sobering." |
Aaron Hillis |
Tomato 3/4 |
Masked and Anonymous (2003) |
"Is it muddled? Yes. Imperfect? Sure. Impenetrable? Well, that's open to interpretation." |
Scott Warren |
- |
Master and Commander: The Far Side of the World (2003) |
Click here to see the review. |
|
- |
Master and Commander: The Far Side of the World (2003) |
Click here to see the review. |
|
Tomato 3.5/4 |
The Matador (2005) |
"A testament to the relatively unknown Shepard’s imagination and smarts." |
|
Tomato 3.5/4 |
Match Point (2005) |
"Such a shrewd character study actually bears more in common with Patricia Highsmith's Ripley tales than anything out of Dostoevsky, though, and marks a nice corollary with the Matt Damon movie of a few years back." |
Peter Debruge |
Tomato 3.5 |
Matchstick Men (2003) |
"It’s a 21st-century version of The Sting for these so far rather unkind and ungentle times." |
Glenn Kenny |
Tomato 2.5/4 |
The Matrix Reloaded (2003) |
"For those who go in knowing, at heart, it’s just a Joel Silver-produced sci-fi film with some presumptions, it’ll be fine." |
Glenn Kenny |
Tomato 2.5/4 |
The Matrix Revolutions (2003) |
"“Everything that has a beginning has an end.” Right, or maybe right." |
Glenn Kenny |
- |
The Matrix Revolutions (2003) |
"So what can we expect from part three? 'Revolutions spills into the real world and becomes very epic,' says visual-effects supervisor John Gaeta." |
Mark Salisbury |
- |
The Matrix Revolutions (2003) |
"The stage is set for the final confrontation between man and machine, as well as the climactic round between Neo’s flying superman and his archenemy Smith (Weaving)—a fight that’s been dubbed by the filmmakers as “the Superbrawl” and that takes place both" |
Susannah Gora |
Tomato 2/4 |
Max (2002) |
"A fascinating and engrossing film." |
Glenn Kenny |
- |
Me, Myself & Irene (2000) |
Click here to see the review. |
Glenn Kenny |
Tomato 3/4 |
Mean Creek (2004) |
"Exceptionally strong performances from the entire cast draw you into the movie's deliberately provocative world." |
Peter Debruge |
Tomato 3/4 |
Mean Girls (2004) |
"Steers toward familiar teen-movie hyperbole, but it's the way the girls plot their sabotage while doling out empty compliments that keeps things real." |
Peter Debruge |
Splat 2/4 |
The Medallion (2003) |
Click here to see the review. |
Alex Kranz |
- |
Meet Me in St. Louis (1944) |
Click here to see the review. |
|
Splat 2.5/4 |
Meet the Fockers (2004) |
"Culture-clashing through the snow, in a one-joke open sleigh, Meet the Fockers goes, laughing all the way . . . to the bank." |
Aaron Hillis |
Splat 2/4 |
Meet the Robinsons (2007) |
"The fact is Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess." |
Glenn Kenny |
Tomato 3/4 |
Melinda and Melinda (2005) |
"Though Melinda is no masterpiece, it's also an Allen film that requires almost zero special pleading." |
Glenn Kenny |
Tomato 3/4 |
Memoirs of a Geisha (2005) |
"Marshall's approach is simultaneously accessible and exotic, a breathtaking introduction that exposes without spoiling a world of carefully guarded mystery." |
Peter Debruge |
- |
The Memory of a Killer (2005) |
Click here to see the review. |
|
Tomato |
Men at Work (2006) |
"A wonderfully offbeat comic allegory that maintains the sharpness of Kiarostami's humanist observations... the film reads persuasively as a satire of masculine idiocy." |
Aaron Hillis |
Tomato 3/4 |
Men in Black II (2002) |
"'The cosmically thin premise merely acts as scenery for Mr. Smith to chew and Mr. Jones to deadpan against. Wackiness sporadically ensues.'" |
Aaron Hillis |
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