Tomato |
Palindromes (2005) |
"It should be said that Solondz is an equal-opportunity misanthrope, mocking the garishly insensitive rah-rah-abortion mom, the thoughtlessly fanatical opposition, and everyone in between." |
David Edelstein |
Tomato |
Paprika (2007) |
"The über-dream is both gorgeously animated, in Kon's shimmering, hyperreal style, and sickeningly scary." |
Dana Stevens |
Tomato |
Paranormal Activity (2009) |
"Though it never poses a question more abstract than "Where's that scratching sound coming from?" Paranormal Activity is all about spiritual and ethical debts coming due." |
Dana Stevens |
Splat |
The Passion of the Christ (2004) |
"This is a two-hour-and- six-minute snuff movie -- The Jesus Chainsaw Massacre -- that thinks it's an act of faith." |
David Edelstein |
- |
The Passion of the Christ (2004) |
Click here to see the review. |
Sian Gibby |
Tomato |
Paul Blart: Mall Cop (2009) |
"As cheapo larks go, it's a winningly unassuming one: no stars, no big action set pieces. Just a fat guy, a near-empty mall, and a lot of really ridiculous ideas." |
Dana Stevens |
Splat |
Pearl Harbor (2001) |
"A movie that's nothing but selling points." |
David Edelstein |
- |
Pearl Harbor (2001) |
Click here to see the review. |
Jonathan Last |
- |
Persepolis (2007) |
Click here to see the review. |
Dana Stevens |
Tomato |
Personal Velocity (2002) |
"If the movie is finally stuck halfway been cinema and prose, Miller proves that it's not an unfertile place to linger." |
David Edelstein |
Tomato |
Phoebe In Wonderland (2009) |
"[Elle Fanning is] an astonishingly natural and unmannered actress who carries this rather ungainly movie on her narrow shoulders." |
Dana Stevens |
Splat |
Phone Booth (2003) |
"The premise is admittedly a killer -- fun to think about, fun to see realized, not so fun to see screwed up in the last half-hour." |
David Edelstein |
Tomato |
The Pianist (2002) |
"One of the most indelible Holocaust films ever made." |
David Edelstein |
Splat |
Pineapple Express (2008) |
"The swath of destruction these boys leave in their wake seems disproportionate to the prevailing mood of dopey fun." |
Dana Stevens |
Splat |
Pink Panther (2006) |
"This movie leaves us with the stale whiff of fake nostalgia and something even more odoriferous: the smell of money." |
Dana Stevens |
Splat |
Pirates of the Caribbean: At World's End (2007) |
"Adrift in the windless seas of its 168-minute running time, the viewer passes through confusion and boredom into a state of Buddhist passivity." |
Dana Stevens |
Splat |
Pirates of the Caribbean: Dead Man's Chest (2006) |
"Without a beating heart at its center, this Chest feels empty indeed." |
Dana Stevens |
Splat |
Pirates of the Caribbean: The Curse of the Black Pearl (2003) |
"At, say, 85 minutes, this would have been a jolly little swashbuckler, but at 143 it turns into an unholy trial." |
David Edelstein |
Splat |
Planet of the Apes (2001) |
"Offers proof of Hollywood's simian instincts: Monkey see old hit, monkey do remake." |
David Edelstein |
Splat |
Pollock (2000) |
"A series of flashy scenes that work on their own histrionic terms but add up to nothing you can't predict in the first five minutes." |
David Edelstein |
Tomato |
Ponyo (2009) |
"Ponyo has elements of both a classic fairy tale and an environmental message movie, but it shifts as nimbly between those genres as Ponyo herself does from person to goldfish and back again." |
Dana Stevens |
Tomato |
A Prairie Home Companion (2006) |
"By the movie's own reckoning, it's a success: a dented, mysterious item that you would find buried in a secondhand store -- a relic of the old, weird America that Keillor so loves." |
Michael Agger |
Tomato |
Precious: Based on the Novel PUSH by Sapphire (2009) |
"In offering up their heroine's misery for the audience's delectation, they've created something uncomfortably close to poverty porn." |
Dana Stevens |
Tomato |
The Prestige (2006) |
"It doesn't want to explore epistemological questions about the nature of perception and memory; it just wants to mess with our heads. And as a wily, slightly sadistic chess game of a movie, it succeeds quite nicely." |
Dana Stevens |
- |
Pride & Prejudice (2003) |
Click here to see the review. |
David Edelstein |
Tomato |
Pride and Prejudice (2005) |
"A joy to behold." |
David Edelstein |
Splat |
Primary Colors (1998) |
"It's hard for me fully to express how deeply rotten I think Primary Colors is. Adjectives like 'glib,' 'coarse,' and 'sour' don't fully do it." |
David Edelstein |
Tomato |
The Prince of Egypt (1998) |
"This is sensational cinema: crowds swarming among pyramids in eye-popping 3-D, camerawork that's distinctly Spielbergian in its fluidity." |
David Edelstein |
Tomato |
The Princess and the Frog (2009) |
"Efficient, well-practiced storytelling is what we expect from a Disney animated feature. The real story here for parents is the clever and careful recalibration of the princess archetype." |
Dan Kois |
Tomato |
Princess Mononoke (1997) |
"The movie has a scope that makes Hollywood's homiletic, follow - your - dream fables look even more solipsistic." |
David Edelstein |
Tomato |
The Prize Winner of Defiance, Ohio (2005) |
"An honest tear-jerker." |
David Edelstein |
Splat |
The Producers (2005) |
"The stage performances haven't been scaled down: Everything is pitched to the second balcony. And Mel Brooks' material -- especially the retro queeny stereotypes -- is excruciatingly dated." |
David Edelstein |
Tomato |
The Protector (2006) |
"When you've got a male lead who can break heads like Tony Jaa, a little bit of story line goes a long way." |
Dana Stevens |
Splat |
Public Enemies (2009) |
"It's like spending an afternoon -- a long one -- at a beautifully lit wax-museum display inspired by earlier gangster movies." |
Dana Stevens |
Splat |
The Punisher (2004) |
"A sickeningly manipulative, by-the-numbers revenge movie." |
David Edelstein |
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