Tomato |
Caché (2005) |
"Any work of art that embarrasses us for inclining toward warmth or decency (or, God forbid, humor) ought to be distrusted. On the other hand, I have found myself unable to shake Caché." |
Stephen Metcalf |
Tomato |
Cadillac Records (2008) |
"One of the strengths of Cadillac Records, written and directed by Darnell Martin, is that it's a movie about music by someone who genuinely seems to enjoy listening to music." |
Dana Stevens |
- |
Calendar Girls (2003) |
Click here to see the review. |
Mimi Swartz |
Splat |
Candy (2006) |
"In the end, Candy is a little too sweet and not quite harmful enough to the audience's health." |
Dana Stevens |
Splat |
Capitalism: A Love Story (2009) |
"Moore's choice to make "capitalism" his straw man (rather than, say, greed or Reagan-era deregulation) puts him in closer company than he might like with some pretty nasty world-historical bedfellows." |
Dana Stevens |
Tomato |
Capote (2005) |
"Hoffman goes beyond the surface mannerisms and diction. He disappears into Capote." |
David Edelstein |
- |
Capote (2005) |
Click here to see the review. |
Stephen Metcalf |
Splat |
Captain Corelli's Mandolin (2001) |
"It's from a wry, teeming novel, but director John Madden (or someone) has left out a lot of connecting material, so Cruz seems to go for Cage only because it says so in the script." |
David Edelstein |
Tomato |
Capturing the Friedmans (2003) |
"In some respects, Jarecki just scratches the surface of the material, and the film is often coy and withholding. Yet it's also riveting and so suggestive that you can't consume it passively: You have to brood on it." |
David Edelstein |
- |
Carnivale - The Complete First Season (2003) |
Click here to see the review. |
Dennis Cass |
Tomato |
Cars (2006) |
"It's impossible to find more joy in the dark at the moment." |
Michael Agger |
Tomato |
Casino Royale (2006) |
"Martin Campbell (who also directed Pierce Brosnan's first outing as Bond in Goldeneye), has chosen to give us a Bond who's both metaphorically and literally stripped bare. Let me take this opportunity to thank him for both." |
Dana Stevens |
Splat |
Cassandra's Dream (2008) |
"These characters not only don't talk like working-class Londoners, they don't talk like anyone." |
Dana Stevens |
Tomato |
Catch Me If You Can (2002) |
"After a series of dud roles, DiCaprio is back in star form." |
David Edelstein |
Tomato |
The Caveman's Valentine (2001) |
"Mostly good fun." |
David Edelstein |
Tomato |
Cellular (2004) |
"If thrills and spills like the ones in Cellular have been the stuff of melodrama since Pauline was tied to the tracks, mobile phones give a filmmaker more opportunities for cross-cutting and more weird hurdles to jump." |
David Edelstein |
- |
Chain Reaction (1996) |
Click here to see the review. |
Dana Stevens |
Splat |
Changeling (2008) |
"The Changeling doesn't invite the viewer to share in its heroine's disorientation, rage, and grief. Rather, it keeps us at a stately remove, presenting Christine's suffering as a kind of religious tableau." |
Dana Stevens |
Tomato |
Charlie and the Chocolate Factory (2005) |
"This movie is a riot of fiendish invention." |
David Edelstein |
Tomato |
Charlie Wilson's War (2007) |
"A funny, sprightly tribute to the American can-do spirit, with a bleak ending that suggests that our plucky protagonist may have just dug his own (or, in this case, his country's) grave." |
Dana Stevens |
Tomato |
Charlie's Angels (2000) |
"Charlie's Angels is like a Hong Kong flick but without the bogus spirituality and excruciating schlock-pop ballads." |
David Edelstein |
Splat |
Charlie's Angels: Full Throttle (2003) |
"It's like a third-rate Austin Powers picture cut to the whacking, attention-deficit-disorder tempo of Moulin Rouge." |
David Edelstein |
Splat |
Charlotte's Web (2006) |
"To paraphrase the novel's famous last lines, it's not often a story comes along that can make for both a great book and a wonderful movie. Charlotte's Web isn't both." |
Dana Stevens |
Tomato |
Chicago (2002) |
"Rob Marshall's film of Chicago isn't just the most explosively entertaining movie musical in a couple of decades. It's going to be the most influential." |
David Edelstein |
Tomato |
Children of Men (2006) |
"Children of Men, Alfonso Cuarón's dense, dark, and layered meditation on fertility, technology, immigration, war, love, and life itself may be the movie of the still-young millennium." |
Dana Stevens |
Splat |
Choke (2008) |
"Self-destructive, Oedipally fixated slackers everywhere can rest safe in the knowledge that at last they have a voice in pop culture." |
Dana Stevens |
Tomato |
The Chronicles of Narnia: Prince Caspian (2008) |
"They may make for clunky religious parables, but the Narnia books -- and so far, the movies based on them -- are wonderful as stories about childhood and its loss." |
Dana Stevens |
Tomato |
The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005) |
"An entertaining, emotional, and surprisingly intimate movie." |
David Edelstein |
Tomato |
Chuck & Buck (2000) |
"Chuck & Buck might be the most perversely agreeable stalker picture ever made." |
David Edelstein |
Tomato |
Cinderella Man (2005) |
"It's schmaltzy -- but it's schmaltz veined with foie gras." |
David Edelstein |
- |
Cirque du Soleil - Fire Within (2003) |
Click here to see the review. |
Virginia Heffernan |
Tomato |
Citizen Kane (1941) |
"In many ways Citizen Kane would seem tailor-made for contemporary sensibilities -- at least as those sensibilities existed before Sept. 11." |
Christopher Hawthorne |
Tomato |
City of God (2003) |
"The film is far from a work of art, but it marks the emergence of a great new action superchef." |
David Edelstein |
Tomato |
The Claim (2001) |
"True to its source, finding the seed of all great epics in the divisions of the heart." |
David Edelstein |
Tomato |
The Class (2008) |
"You walk out of the theater feeling unsettled, curious, and passionate to talk -- as if you just spent two hours in the best class you ever took." |
Dana Stevens |
Tomato |
Clean (2006) |
"In Clean, Assayas returns to his comfort zone -- the world of appealing young people with interestingly chaotic lives -- and views it through the eyes of a woman who doesn't belong there anymore." |
John DeFore |
Tomato |
Click (2006) |
"Click manages to sneak some surprisingly moving moments in between the gross-out gags and the schmaltzy resolutions." |
Dana Stevens |
Tomato |
Closer (2004) |
"I have to confess: I love it when big movie stars talk dirty." |
David Edelstein |
Splat |
Cloverfield (2008) |
"Despite a first reel entirely devoted to establishing characters, Cloverfield is basically a line-'em-up, pick-'em-off horror movie that's effective without being either viscerally frightening or emotionally moving." |
Dana Stevens |
Splat |
Coffee and Cigarettes (2004) |
"Despite glimmers of wit and a hipper-than-thou cast, it's painstakingly smug, and smaller than the sum of its parts." |
David Edelstein |
Tomato |
Cold Mountain (2003) |
"Good, sometimes thrilling, but it's less a war epic than an evocative romantic melodrama with a patchy first hour." |
David Edelstein |
Splat |
Collateral (2004) |
"It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action." |
David Edelstein |
Tomato |
The Company (2003) |
"This is an absolutely miraculous movie." |
David Edelstein |
Splat |
Confessions of a Dangerous Mind (2002) |
"Confessions of a Dangerous Mind works best as a rollicking trip through the pop culture of the '60s and '70s." |
David Edelstein |
Splat |
Confessions of a Shopaholic (2009) |
"If you spin out the unintended analogy of Confessions of a Shopaholic to the current financial crisis, the film starts to mutate from a not-that-funny comedy into a tragic allegory." |
Dana Stevens |
Splat |
Confidence (2003) |
"Identity is suicidally insecure." |
David Edelstein |
Tomato |
The Constant Gardener (2005) |
"It might inspire you to haul out those garden spades and get digging." |
David Edelstein |
Splat |
Constantine (2005) |
"Borderline incoherent, theologically unsatisfying, and short to the point of dwarfism on suspense." |
David Edelstein |
Splat |
Contact (1997) |
"When Contact finally comes alive, it leaves you frightened and thrilled and emotionally overwrought, as only a child can be. The rest is pandering." |
Sarah Kerr |
Tomato |
Cop Land (1997) |
"Cop Land shares its leading man's slow-wittedness, but also his likability." |
David Edelstein |
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