Tomato |
Face Off (1997) |
"With Face/Off, John Woo, the Hong Kong auteur (The Killer, Hard Boiled), has made his smartest, wildest, positively Woo-siest American thriller." |
|
Splat |
Face to Face (1976) |
"This is a strange, stormy period for Ingmar Bergman." |
Jay Cocks |
Tomato |
Fahrenheit 9/11 (2004) |
"A brisk and entertaining indictment of the Bush Administration’s middle East policies before and after September 11, 2001." |
Mary Corliss |
Tomato |
Fame (2009) |
""Already?" the woman behind me said plaintively when the words "Sophomore Year" flashed up on the screen. That's the joy of this Fame. Like the old ones, it convinces you that high school, if not life, should go on forever." |
Mary F. Pols |
Tomato |
Fantasia (1940) |
"Critics may deplore Disney's lapses of taste, but he trips, Mickey-like, into an art form that immortals from Aeschylus to Richard Wagner have always dreamed of." |
|
Tomato |
Fantasia 2000 (1999) |
"It provides some fine artists the chance to stretch and frolic, even as it reminds today's audiences of animation's limitless borders." |
Richard Corliss |
Tomato |
Fantastic Mr. Fox (2009) |
"Anderson's stop-motion Fantastic Mr. Fox is both a delightful amusement and a distillation of the filmmaker's essential playfulness." |
Mary F. Pols |
Tomato |
Farewell My Concubine (1993) |
"The scenes in the Peking Opera School, where boys are caned for doing wrong or right, are no less horrifying than the later tableaus of public humiliation at the hands of the Maoists." |
Richard Corliss |
Splat 2/5 |
Fargo (1996) |
"All attitude and low aptitude. Its function is to italicize the Coens' giddy contempt toward people who talk and think Minnesotan." |
Richard Corliss |
Splat |
Fast & Furious (2009) |
"Boiled down to its essentials, F&F is four pretty swell auto-race video games encased in the bloated carcass of a script, by Chris Morgan, that must have been researched in the Archive of Movie Cliches." |
Richard Corliss |
Splat |
Fast Times at Ridgemont High (1982) |
"Director Amy Heckerling has failed to provide the raunch or poignancy that would interest young moviegoers, all of whom have seen American Graffiti and its 467 imitators. Ridgemont High? A nice place to visit, but who would want to transfer there?" |
Richard Corliss |
Tomato |
Fatal Attraction (1987) |
"[The film brings] horror home to a place where the grownup moviegoer actually lives." |
Richard Corliss |
Tomato |
A Few Good Men (1992) |
"An extraordinarily well-made movie, which wastes no words or images in telling a conventional but compelling story." |
Richard Schickel |
Tomato |
Finding Nemo (2003) |
"Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films." |
Richard Corliss |
Splat |
Firewall (2006) |
"You've seen this movie a dozen times." |
Richard Schickel |
Splat |
The Firm (1993) |
"Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end." |
Richard Corliss |
Tomato |
First Knight (1995) |
"[E]very era has the right--maybe even the duty--to reinvent the Arthurian legend according to its lights, and so there is something instructive and entertaining about this version." |
Richard Schickel |
Tomato |
A Fish Called Wanda (1988) |
"Wanda defies gravity, in both senses of the word, and redefines a great comic tradition." |
Richard Schickel |
Tomato |
Flags of Our Fathers (2006) |
"In Flags of Our Fathers, the story behind that Iwo Jima image, Clint Eastwood has crafted a bold and meticulous epic." |
Richard Corliss |
Splat |
Flushed Away (2006) |
"Deficient in the comedy of reticence discouragement that is Aardman's (or maybe just Nick Park's) unique strength. I don't want to say the Englishmen were corrupted, but I think they allowed their strongest, quirkiest instincts to be tethered." |
Richard Corliss |
Tomato |
The Fog of War (2003) |
"This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level." |
Richard Corliss |
Tomato |
For Your Consideration (2006) |
"You have to admire the economy of Guest's work, his ability to work on a small scale and his deadpan skill at keeping his actors on the emotional reservation -- calmly facing down emotional chaos." |
Richard Schickel |
Splat |
For Your Eyes Only (1981) |
"Moore is merely the best-oiled cog in this perpetual motion machine." |
Richard Corliss |
Splat |
Forces of Nature (1999) |
"DreamWorks' first reprehensible fiasco." |
Richard Corliss |
Tomato |
Forgetting Sarah Marshall (2008) |
"This is a fairly low-keyed comedy, but a grown-up dropping in on it can appreciate its lack of frenzy, its fundamental good nature, as easily as its core audience will. It isn’t exactly a gem, but as zircons go, it’ll do." |
Richard Schickel |
Tomato 4/5 |
Forrest Gump (1994) |
"Like the best movie actors, Hanks is a superb reactor." |
Richard Corliss |
Tomato |
The Fountain (2006) |
"Anybody could see that Aronofsky was one of the few American filmmakers who saw the cinema past as a jumping-off point, not a toy store to plunder. His films were full of promise; and more, they delivered on their promises." |
Richard Corliss |
Tomato |
Four Weddings and a Funeral (1994) |
"There are movies so breezy, even flimsy, that you can enjoy them as genial providers of an evening's entertainment yet forget all about them by the time you leave the multiplex." |
Richard Corliss |
Splat |
The Fourth Kind (2009) |
"You'd do better downloading an old Art Bell show -- say, the one about the guy who put an alien in his freezer -- than investigating this evidence of subnormal activity." |
Richard Corliss |
Splat |
Fracture (2007) |
"Up to a point, the movie has a certain intricacy and novelty. The trouble comes as it gropes for an ending." |
Richard Schickel |
Tomato |
Frankenstein (1931) |
"[Whale] did it in the Grand Guignol manner, with as many queer sounds, dark corners, false faces and cellar stairs as could possibly be inserted." |
|
Tomato |
Freaks (1932) |
"Director Tod Browning, one of the few truly individual directors in the U. S., is a specialist in horror." |
|
Splat |
Fred Claus (2007) |
"The movie is less ho-ho-ho than uh-oh, or oh-no." |
Richard Corliss |
Tomato |
The French Connection (1971) |
"A knockout police thriller with so much jarring excitement that it almost calls for comic-book expletives. POW! ZOWIE!" |
Jay Cocks |
Tomato |
From Here to Eternity (1953) |
"Scriptwriter Daniel Taradash rescued, if not quite a gem, then at least a high-grade industrial diamond from this rough original." |
|
Tomato |
From Russia with Love (1963) |
"Sophisticated? Well, not really. But fast, smart, shrewdly directed and capably performed." |
|
- |
From the Earth to the Moon (1998) |
Click here to see the review. |
James Collins |
Tomato |
Frost/Nixon (2008) |
"Langella is not a natural Nixon; he has a voluptuary's face and a self-assurance the president only dreamed of. So he burrows into Nixon and comes out with a figure who is less a simulacrum than the definitive interpretation." |
Richard Corliss |
Tomato |
The Fugitive (1993) |
"A first-rate thriller." |
Richard Schickel |
Tomato |
Full Metal Jacket (1987) |
"Full Metal Jacket is not a realistic film -- it is horror-comic superrealism, from a God's-eye view -- but it should fully engage the ordinary movie grunt." |
Richard Corliss |
Splat |
Fun and Fancy Free (1947) |
"The whole picture peters out and becomes as oddly off-balance and inconsequential as its title." |
|
Splat |
Funny Girl (1968) |
"This extended Streisand Special has done absolutely nothing to correct the flaws in the Broadway original." |
|
Splat |
Funny People (2009) |
"It's as if, halfway through, you went out for popcorn and mistakenly returned to an auditorium showing a different picture. And that second movie ends immolating itself." |
Richard Corliss |
Splat |
Fur: An Imaginary Portrait of Diane Arbus (2006) |
"If so blatant a fiction is placed in a co-starring role into an account of a real life what can you usefully take away from the movie?" |
Richard Schickel |
RSS Feeds