Splat |
Cabaret (1972) |
"Bob Fosse's direction is as chaotic as it was in his previous Sweet Charity, a desperate scramble after a style." |
Jay Cocks |
Splat |
The Cable Guy (1996) |
"Aiming, perhaps, for a neat double helix of black humor and prankishness, they've ended up with a pretty ugly granny knot." |
Richard Schickel |
Tomato |
Caché (2005) |
"A creepy, complicitous thriller that ratchets up the tension even as it asks us to study the mechanics of film fright." |
|
Tomato |
Caramel (2008) |
"Just another good-looking, gently humorous, pleasantly romanticized little comedy, which ends with everyone a little wiser than they began." |
Richard Schickel |
Tomato |
Carrie (1976) |
"An exercise in high style that even the most unredeemably rational among moviegoers should find enormously enjoyable." |
Richard Schickel |
Tomato |
Cars (2006) |
"Existing both in turbo-charged today and the gentler '50s, straddling the realms of Pixar styling and old Disney heart, this new-model Cars is an instant classic." |
Richard Corliss |
Splat |
Casablanca (1942) |
"Nothing short of an invasion could add much to Casablanca." |
|
Splat |
Casino Royale (1967) |
"Poor 007 is now lost in a hall of distorting mirrors." |
|
Splat |
Casino Royale (2006) |
"This is a Bond with great body but no soul." |
Richard Corliss |
Tomato |
Cat on a Hot Tin Roof (1958) |
"A formaldehyded tabby that sits static while layer after layer of its skin is peeled off, life after life of its nine lives unsentimentally destroyed." |
|
Splat |
Catch and Release (2007) |
"A romantic non-comedy." |
Richard Schickel |
Tomato |
Catch Me If You Can (2002) |
"A gently funny, sweetly adventurous film that makes you feel genuinely good, that is to say, entirely unconned by false sentiment or sharp, overmanipulative Hollywood practices." |
Richard Schickel |
Splat |
Catwoman (2004) |
"When is a cat a dog? When it's Catwoman." |
Richard Corliss |
Tomato |
Cavalcade (1933) |
"Almost certain to be near the top of the list for 1933." |
|
Splat 1/5 |
The Caveman's Valentine (2001) |
"The Caveman has lapses of logic, but fewer than you will find in George Dawes Green's improbable script." |
Richard Corliss |
Tomato 4.5/5 |
Central Station (1998) |
"[Salles'] imagery, like his storytelling, is clear, often unaffectedly lovely, and quietly, powerfully haunting." |
Richard Schickel |
Splat |
Charade (1963) |
"What's going on is sort of confused." |
|
Tomato |
Chariots of Fire (1981) |
"Like every element in this picture, the actors look right; they seem to emerge from the past, instead of being pasted on to it, as so many characters in historical movies seem to be." |
Richard Schickel |
Splat |
Charlie and the Chocolate Factory (2005) |
"It's all right without being particularly riveting." |
Richard Schickel |
Tomato 4.5/5 |
Chasing Amy (1997) |
"A brutally honest romance. If you loved Sleepless in Seattle, you'll just hate it." |
Richard Schickel |
Tomato |
Cheri (2009) |
"The movie speaks to issues of traditional desirability and dignity, specifically to the point in a woman's life when she either makes decisions about how well those two qualities can exist together or has them made for her." |
Mary F. Pols |
Tomato |
Chicken Little (2005) |
"It's one of the funniest, most charming and most exhilarating movies in years." |
Richard Corliss |
Tomato |
Chicken Run (2000) |
"Exactly the picker-upper this macho-movie summer needs." |
Richard Corliss |
Splat |
A Christmas Carol (1951) |
"Though Dickens' frank sentimentality calls for broad treatment, Brian Desmond Hurst's direction is too often heavy as well." |
|
Splat |
Christmas in Connecticut (1945) |
"Thoroughly moth-eaten." |
|
Tomato |
Christmas in July (1940) |
"Produced for a paltry $325,000, it once again gives the lie to the arbitrary Hollywood assumption that a film's quality is in direct proportion to its cost." |
|
Tomato |
A Christmas Tale (2008) |
"A triumph of willed optimism (or perhaps more accurately, of grudging good nature) over unhappy experiences..." |
Richard Schickel |
Splat |
The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005) |
"There's no fire, no passion and not much fun." |
|
Splat 1.5/5 |
Chuck & Buck (2000) |
"Any movie that sentimentalizes stalking ought to be shunned." |
Richard Schickel |
Tomato |
Cimarron (1931) |
"It is a long, full-bodied picture, paced so deftly that although it covers more than half a century of crowded, changing events, it never drags and is rarely jerky." |
|
Tomato |
Cinderella (1950) |
"Cinderella is beguiling proof that Walt Disney still knows his way around fairyland." |
|
Tomato |
Citizen Kane (1941) |
"It is a work of art created by grown people for grown people." |
|
Tomato |
Clerks (1994) |
"The film looks no more expensive than it was; some of the acting (by local nonprofessionals) is spectacularly amateurish; the story is a series of anecdotes about hockey, shopping and loving the one you're with. But it's worth loitering in this shop." |
Richard Corliss |
Tomato |
Clockers (1995) |
"There is a force and focus in Lee's work, an absence of intellectual posturing and a willingness to let his material speak for itself that he has not achieved before." |
Richard Schickel |
Tomato |
A Clockwork Orange (1971) |
"A merciless, demoniac satire in the future imperfect." |
|
Tomato |
Closer (2004) |
"Funny, hurtful, splendidly acted." |
Richard Corliss |
Splat |
Cloverfield (2008) |
"We know only what they know, see what the videocamera sees. I.e., not much." |
Richard Corliss |
Splat |
Coco Before Chanel (2009) |
"It may be too respectful of the legend it seeks to illuminate." |
Mary F. Pols |
Tomato |
Coffee and Cigarettes (2004) |
"It is way cool -- and funny -- in ways that more expensive comedies trying harder rarely are." |
Richard Schickel |
Tomato |
Cold Mountain (2003) |
"The year's most rapturous love story." |
Richard Corliss |
Tomato |
Collateral (2004) |
"As much a dark, odd couple comedy as it is a quirky, efficient little thriller." |
Richard Schickel |
Tomato |
The Color of Money (1986) |
"We are not on Rocky's side of the street, but in Martin Scorsese country, where bent character, not sentiment, shapes destiny, and the best the struggling human spirit can hope for is a split decision." |
Richard Schickel |
Tomato |
Come Back, Africa (1960) |
"Come Back, Africa is a timely and remarkable piece of cinema journalism: a matter-of-fact, horrifying study of life in the black depths of South African society." |
|
Splat |
Coming to America (1988) |
"The director is ... rather distracted; John Landis seems to be browsing through the scenes rather than gobbling them down." |
Richard Schickel |
Tomato |
The Commitments (1991) |
"The film offers no message, no solutions, only a great time at the movies." |
Richard Corliss |
Tomato |
Constantine (2005) |
"Halfway through Constantine, a fully clad Keanu Reeves steps into a shallow pail of water, sits on a chair next to it and holds a cat in his lap." |
Richard Corliss |
Tomato |
Cool Hand Luke (1967) |
"A picture of chilling dramatic power." |
|
Tomato |
Coraline (2009) |
"[The] chilly visual vocabulary, along with a narrative that too often detours into ingenious irrelevancies, makes Coraline an object to be admired, but not embraced." |
Richard Corliss |
Tomato |
Corvette Summer (1978) |
"As long as one doesn't demand too much of it, Corvette Summer delivers a very pleasant two hours of escape." |
Frank Rich |
Splat |
The Cotton Club (1984) |
"Given its garish production history, one rather expected The Cotton Club to sing with hot-jazz desperation. Instead, we get the mediocre craftsmanship of a pit band in Vegas." |
Richard Corliss |
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