- |
Cabaret (1972) |
Click here to see the review. |
Andrew O'Hehir |
Splat |
The Cable Guy (1996) |
"Stiller doesn't know where he wants the movie to go, and Broderick has nothing to do but look incredulous as Carrey wreaks havoc on his personal life." |
Stephanie Zacharek |
Tomato |
Cadillac Records (2008) |
"Martin, who also wrote the script, takes liberties with the Chess story, most notably dispensing altogether with Phil Chess. But "Cadillac Records" is such an exhilarating, spirited piece of work that its embellishments and omissions cease to matter." |
Stephanie Zacharek |
Splat |
Calendar Girls (2003) |
"Unlike the flowers and the women of Yorkshire, Calendar Girls hits its stride early on, and goes to seed well before we can enjoy its full bloom." |
Stephanie Zacharek |
Tomato |
Calle 54 (2001) |
"A loving Buena Vista Social Club -style hymn to the rhythm and life of salsa." |
Charles Taylor |
Tomato |
The Camden 28 (2007) |
"Not exactly blazing cinema, but intellectually riveting." |
Andrew O'Hehir |
- |
Camelot (1967) |
Click here to see the review. |
Stephanie Zacharek |
Tomato |
Candy (2006) |
"Acting with his own accent for the first time since he became a movie star, Ledger is something of a revelation in this role." |
Andrew O'Hehir |
Splat |
El Cantante (2007) |
"El Cantante disintegrates into a stylized jumble -- even a straightforward jumble would have been preferable." |
Stephanie Zacharek |
Splat |
Capitalism: A Love Story (2009) |
"This is a love story, all right, but it has less to do with the flaws of capitalism than it does with Moore's unwavering fondness for the sound of his own voice, and for what he perceives as his own vast cleverness." |
Stephanie Zacharek |
Tomato |
Capote (2005) |
"The movie is both ruthlessly critical of its subject and unabashedly affectionate toward him, and Hoffman hits every note so it rings true." |
Stephanie Zacharek |
Splat |
Captain Corelli's Mandolin (2001) |
"The movie's craft is dead and dutiful. It's an Oscar machine." |
Charles Taylor |
Splat |
Captain Mike Across America (2007) |
"Captain Mike Across America is a shameless act of self-promotion even for a shameless self-promoter like Moore." |
Stephanie Zacharek |
Tomato |
Capturing the Friedmans (2003) |
"Andrew Jarecki could have done more to lay out the marriage of sexual and religious and social hysteria that made cases like this possible. But he deserves credit for having the guts to say, in this case and in so many like it, who suffered the most." |
Charles Taylor |
Tomato |
Caramel (2008) |
"It's a warm midwinter treat." |
Andrew O'Hehir |
- |
Career Girls (1997) |
Click here to see the review. |
Laura Miller |
Tomato |
Carmen and Geoffrey (2009) |
"Laugh if you want to, but this movie is a joyful celebration of the possibilities of love, the possibilities of blackness, the possibilities of America, and the possibilities of the human spirit. It's a tremendous tonic for dark times." |
Andrew O'Hehir |
- |
Carnage (1984) |
Click here to see the review. |
Andrew O'Hehir |
Splat |
Cars (2006) |
"None of the characters in Cars feel like flesh and blood. None of them feel like family. Instead, they're just a means to an end -- vehicles and nothing more." |
Stephanie Zacharek |
- |
Casablanca (1942) |
Click here to see the review. |
Andrew O'Hehir |
Tomato |
Casanova (2005) |
"Casanova works because it gives in to its nuttier impulses instead of fighting them. It's an absurdly joyous bit of fluff." |
Stephanie Zacharek |
Tomato |
Casino Royale (2006) |
"This, at last, is Bond stripped bare." |
Stephanie Zacharek |
Splat |
Cassandra's Dream (2008) |
"This isn't filmmaking; it's thesis defending." |
Stephanie Zacharek |
Tomato |
Cast Away (2000) |
"Cast Away is a sad movie of the sort that Hollywood almost never makes: not three-hankie sad, not 'go have yourself a good cry' sad, but the kind of thing that, if you let it in deep enough, can send a shudder to your very soul." |
Stephanie Zacharek |
Splat |
The Cat's Meow (2002) |
"The Cat's Meow plays like an idea for a scandalous masquerade ball rather than a movie." |
Charles Taylor |
Splat |
Catch a Fire (2006) |
"Ultimately, [director Phillip Noyce] does a pretty good job of telling us the cost of freedom; he just can't quite put us inside the skin of the people who had to pay it." |
Stephanie Zacharek |
Tomato |
Catch and Release (2007) |
"One of those movies where the small pleasures stack up high enough to dwarf the disappointments." |
Stephanie Zacharek |
Splat |
Catch Me If You Can (2002) |
"Though Catch Me If You Can isn't badly made, the fun slowly leaks out of the movie." |
Charles Taylor |
Tomato |
Cats & Dogs (2001) |
"An hour and a half of giddy, ridiculous fun." |
Stephanie Zacharek |
Splat |
Catwoman (2004) |
"Instead of basking in the considerable charms Berry has to offer, the director, Pitof ... treats them like accessories to the picture's flashy, senseless cutting and overused special effects." |
Stephanie Zacharek |
- |
Caught (1949) |
Click here to see the review. |
Charles Taylor |
Tomato |
Cave of the Yellow Dog (2006) |
"A stunningly beautiful docudrama about a nomadic family and a thoroughly adorable little dog." |
Andrew O'Hehir |
Splat |
The Caveman's Valentine (2001) |
"Hovers somewhere in that never-never land of movies that try to do too much and don't quite live up to any of their ambitions." |
Stephanie Zacharek |
Tomato 9/10 |
Cecil B. Demented (2000) |
"[Waters] piles on one wacky notion after another, and somehow they stack without toppling." |
Stephanie Zacharek |
- |
Celebrity (1998) |
Click here to see the review. |
Charles Taylor |
- |
Celestial Clockwork (1996) |
Click here to see the review. |
Laura Miller |
Splat |
The Cell (2000) |
"But for all the opulence of its visual display, this movie has no vision." |
Andrew O'Hehir |
- |
The Cell (2000) |
Click here to see the review. |
Max Garrone |
Tomato |
Cellular (2004) |
"The picture has a low-stakes, cop-show vitality to it; it doesn't pretend to be more than the sum of its parts." |
Stephanie Zacharek |
Splat |
Celsius 41.11 (2004) |
"Celsius 41.11 is so bad it's almost like performance art, or those cheap records from the '60s, where the Chipmunks sing the Beatles' greatest hits." |
Stephanie Zacharek |
- |
Center Stage (2000) |
Click here to see the review. |
Stephanie Zacharek |
Splat |
Changeling (2008) |
"Normally, Jolie is an actress capable of both intensity and subtlety, but her performance here is too amped up to register as anything more than a star turn. Did nobody notice that the real Angelina had been snatched?" |
Stephanie Zacharek |
Splat |
Changing Lanes (2002) |
"Changing Lanes -- despite some solid acting and cinematography -- mistakenly turns what should have been a fast-paced thriller into a cerebral sermon about the slippery slope of corporate law." |
Damien Cave |
Tomato |
Chapter 27 (2008) |
"Some viewers may well find Chapter 27 sleazy or distasteful, and I won't argue the point. But Schaefer's movie creates its own highly compelling world, which is pretty much the prime directive in filmmaking." |
Andrew O'Hehir |
Tomato |
Charade (1963) |
"Made when the studio system was on its last legs, Charade still feels fresh, quick-witted, nothing like the artificial, airless Hollywood pictures of its time." |
Charles Taylor |
Tomato |
Charlie and the Chocolate Factory (2005) |
"In its best sections, it's magically deranged in a way no other filmmaker could even come close to pulling off." |
Stephanie Zacharek |
Tomato |
Charlie Wilson's War (2007) |
"A terrific tale of political wheeling and dealing." |
Stephanie Zacharek |
- |
Charlie's Angels (2000) |
Click here to see the review. |
Jeff Stark |
Splat |
Charlie's Angels (2000) |
"As a director, McG is far too hyperactive to hold the story together neatly." |
Stephanie Zacharek |
Splat |
Charlie's Angels: Full Throttle (2003) |
"In Full Throttle, returning director McG works much harder, for only about half the effect." |
Stephanie Zacharek |
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