Tomato |
Mad Hot Ballroom (2005) |
"There are so many funny yet wrenching moments that the film's refusal to stop and probe can be a gift." |
David Edelstein |
Tomato |
The Magdalene Sisters (2003) |
"Both a masterpiece and a holy hell." |
David Edelstein |
Tomato |
Magnolia (1999) |
"Yu could spend three hours snickering at Anderson's 'What the World Needs Now Is Aimee Mann' metaphysic. But his vision cuts deeper than a lot of folky bathos." |
David Edelstein |
Tomato |
The Maid (2009) |
"If Luis Buñuel had joined forces with the Dogme 95 movement and moved to modern-day Santiago, Chile, he might have made a movie like The Maid." |
Dana Stevens |
Splat |
Maid in Manhattan (2002) |
"J. Lo will earn her share of the holiday box office pie, although this movie makes one thing perfectly clear: She's a pretty woman, but she's no working girl." |
Michael Agger |
Tomato |
Mamma Mia! (2008) |
"The movie's spirit is somewhere between High School Musical and Hedwig and the Angry Inch; it's at once dorkily wholesome and proudly slutty." |
Dana Stevens |
Splat |
The Man (2005) |
"You take your laughs where you can find them." |
David Edelstein |
Tomato |
The Man from London (2008) |
"Feels like no other film that you've seen before. It's cerebral and lugubrious, yet simple as a fairy tale." |
Dana Stevens |
Splat |
Man on Fire (2004) |
"Clint Eastwood and Charles Bronson made the vigilante the true urban cowboy. But I think even they would blanch at the hero of Man on Fire." |
David Edelstein |
Tomato |
Man on the Train (2003) |
"Quintessentially (in places, ludicrously) French yet is suffused with a tender Yank envy." |
David Edelstein |
Tomato |
Man On Wire (2008) |
"Without bombast or pathos -- as gracefully as a tightrope walker -- Man on Wire brings back a time when the towers were still symbols of aspiration and possibility." |
Dana Stevens |
Tomato |
Man Push Cart (2006) |
"If one of the things movies are supposed to do is make you look anew at the world around you, you may never see your doughnut vendor in the same way again." |
Dana Stevens |
Tomato |
The Man Without a Past (2003) |
"This underclass fable is slight, finally, but its miserable/waggishly optimistic worldview leaves you feeling a little more alive." |
David Edelstein |
Tomato |
Management (2009) |
"Despite the essential implausibility of the story, Management remains for the most part as endearing as its leads." |
Dana Stevens |
Tomato |
The Manchurian Candidate (2004) |
"Beautifully made and unsurpassingly creepy, it's the rare remake with something contemporary to add." |
David Edelstein |
Splat |
Manderlay (2006) |
"If Dogville offered up a ham-fisted critique of 'America' from a plane-phobic Dane who's never visited the place, Manderlay ups the arrogance ante by bonking us on the head with supposedly searing 'truths' ..." |
Dana Stevens |
Tomato |
Manhunter (1986) |
"Manhunter ushered in the age of empathy for the devil." |
David Edelstein |
Tomato |
A Map of the World (1999) |
"That which does not kill us makes us … well, still alive." |
David Edelstein |
Splat |
Marci X (2003) |
"If the context of Marci X were more realistic, a lot of these gags would soar. But the context is drag-show dinner theater." |
David Edelstein |
Splat |
Margot at the Wedding (2007) |
"It's too bad Baumbach's movie is already shot, edited, and up there on the screen, because after a few rounds with a red pencil, it could really have been something worth watching." |
Dana Stevens |
Splat |
Marie Antoinette (2006) |
"Just because the film's heroine has nothing to say about politics, revolutionary or otherwise, doesn't justify Coppola being similarly dumbstruck." |
Dana Stevens |
Tomato |
Married Life (2008) |
"A playful riff on film noir that starts by upending every '40s movie cliché." |
Dana Stevens |
- |
Master and Commander: The Far Side of the World (2003) |
Click here to see the review. |
Christopher Hitchens |
Tomato |
Master and Commander: The Far Side of the World (2003) |
"Master and Commander hooks you from its nifty opening salvo to its nifty closing punch line." |
David Edelstein |
Tomato |
Match Point (2005) |
"Match Point is a good movie -- a good, solid movie." |
Stephen Metcalf |
Splat |
Matchstick Men (2003) |
"It's a blah little exploitation picture that thinks it's a deep humanist parable." |
David Edelstein |
Tomato |
The Matrix (1999) |
"Keanu Reeves makes a lean, strikingly beautiful tabula rasa hero, twisting out of the way of bullets that elongate like silver beads of mercury, and he's partnered by the equally hard, blank, and androgynously gorgeous Carrie-Anne Moss." |
David Edelstein |
Splat |
The Matrix Reloaded (2003) |
"An ugly, bloated, repetitive movie that builds to a punch line that should have come an hour earlier." |
David Edelstein |
Splat |
The Matrix Revolutions (2003) |
"Disorienting and unfathomable." |
Matthew Feeney |
Splat |
Max (2002) |
"As a ravishingly photographed, high-minded meditation on the potential of art and therapy to exorcise the vilest sort of psychological poison, it is positively riotous -- an Everest of idiocy." |
David Edelstein |
Tomato |
The Mayor of the Sunset Strip (2003) |
"Creepily entertaining." |
David Edelstein |
Tomato |
Mean Girls (2004) |
"Even at its squarest, the movie's mixture of parody and therapy feels kind of... hip." |
David Edelstein |
Splat |
Meet the Fockers (2004) |
"From the start the jokes are on a different level than the last one: coarse, aggressive, and poorly timed by director Jay Roach." |
David Edelstein |
Splat |
Meet the Spartans (2008) |
"This was the worst movie I've ever seen, so bad that I hesitate to label it a 'movie' and thus reflect shame upon the entire medium of film." |
Josh Levin |
Splat |
Melinda and Melinda (2005) |
"Two lousy movies for the price of one." |
David Edelstein |
Tomato |
Memento (2001) |
"Scary and exhilarating, at least for an hour." |
David Edelstein |
- |
Memento (2001) |
Click here to see the review. |
Erik Lundegaard |
Splat |
Memoirs of a Geisha (2005) |
"It skips lightly over the surface of its rich material, more preoccupied with making pretty pictures than dipping below the surface so that you can experience the world through the eyes of its traumatized, yet increasingly savvy, heroine." |
David Edelstein |
Tomato |
The Memory of a Killer (2005) |
"A gratifyingly slick and fast-moving Flemish thriller, directed by Erik Van Looy, with superb acting." |
David Edelstein |
Splat |
Men In Black (1997) |
"The smartest, funniest, and best-looking sci-fi comedy since the movies learned to morph." |
David Edelstein |
Tomato |
Metallica: Some Kind of Monster (2004) |
"One of the most marvelous rock documentaries of all time." |
David Edelstein |
Tomato |
Metropolis (1927) |
"A great artist contains multitudes, and Lang packed a host of contradictory longings into a single allegory." |
David Edelstein |
Tomato |
The Mexican (2001) |
"A passably diverting entry in the Tarantino genre of splatter and yuks and soulfully bumbling hit men." |
David Edelstein |
Tomato |
Miami Vice (2006) |
"It's a measure of Michael Mann's gift as a filmmaker that he manages to make stuff you'd never want to do in real life -- like grinding against Colin Farrell in a sweaty nightclub, or exchanging gunfire with Nazi supremacists -- seem strangely appealing." |
Dana Stevens |
Tomato |
Michael Clayton (2007) |
"Tony Gilroy's Michael Clayton feels so fresh, so smart, so different from the standard-issue legal thriller that it isn't until nearly an hour in that you notice how conventional a movie it actually is." |
Dana Stevens |
Tomato |
Michael Jackson's This Is It (2009) |
"This Is It is one of the best documents of live performance that I've ever seen, a rehearsal diary that's more intimate and immediate than a traditional concert film." |
Dana Stevens |
Splat |
A Mighty Heart (2007) |
"Angelina Jolie IS Mariane Pearl -- and that marquee-size "is" gets in the way, not of her performance, but of our ability to suspend disbelief and watch it." |
Dana Stevens |
- |
A Mighty Wind (2003) |
Click here to see the review. |
David Edelstein |
Tomato |
Milk (2008) |
"It's nice to see Penn play a character of Spicoli-like sweetness and openness, rather than the glowering lugs that have become his specialty." |
Dana Stevens |
Splat |
Millions (2005) |
"Overdirected from its first frame." |
David Edelstein |
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