Tomato |
Macbeth (Restored Version) (1948) |
"Wonder-Boy Welles has an imaginative way with a camera." |
|
Tomato |
Mad Max Beyond Thunderdome (1985) |
"An astonishing display of virtuoso cinema that is destined to take its place among the most vivid and freshly imagined fist-to-groin contests in the medium's history." |
Richard Schickel |
Splat |
Maid in Manhattan (2002) |
"Not so much a movie as a collection of career moves." |
Richard Schickel |
Splat |
Make Mine Music (1946) |
"Even Walt Disney's best films -- barring his wonderful slapstick -- have suffered from sticky taste; in this effort to be just plain folksy, that stickiness pretty thoroughly gums up the works." |
|
Splat |
Malcolm X (1992) |
"Lee sketches Malcolm's life colorfully, if by the numbers. But he falls victim to the danger of movie biography: he elevates Malcolm's importance until the vital historical context is obscured." |
Richard Corliss |
Splat 2/5 |
Maléna (2000) |
"Bereft of the more richly textured sentiments of Tornatore's Cinema Paradiso." |
Richard Schickel |
Tomato |
The Maltese Falcon (1941) |
"Frighteningly good evidence that the British (Alfred Hitchcock, Carol Reed, et al.) have no monopoly on the technique of making mystery films." |
|
Tomato |
A Man for All Seasons (1966) |
"One of the most intelligent religious movies ever made." |
|
Splat |
Man of the Year (2006) |
"An awkward mix of standard genres that doesn't give us what we desperately need in this increasingly desperate political season -- a black and snarling assault on our imbecile status quo." |
Richard Schickel |
Tomato |
Man on the Train (2003) |
"An elegantly polished little film." |
Richard Schickel |
Tomato |
The Man Who Wasn't There (2001) |
"Affectlessness is not a quality much prized in movie protagonists, but Billy Bob Thornton, that splendid actor, does it perfectly as Ed Crane." |
Richard Schickel |
Splat |
The Man with the Golden Gun (1974) |
"The best Bonds, like the car that twirls, were sly without quite getting silly. The best Bonds also had Sean Connery, whose absence is sorely felt here." |
Jay Cocks |
Tomato |
The Man Without a Past (2003) |
"Droll, reticent, flawlessly filmed fable of generosity." |
Richard Corliss |
Tomato |
March of the Penguins (2005) |
"A gentle film about somewhat alien beings, who entertain us by creating instead of destroying." |
Richard Schickel |
Tomato |
Maria Full of Grace (2004) |
"[An] unpretentious and straightforward film." |
Richard Schickel |
Splat |
Married Life (2008) |
"It's only about as interesting as...married life." |
Richard Corliss |
Tomato |
Mars Attacks! (1996) |
"Perhaps they don't create quite enough deeply funny earthlings to go around, but a thoroughly meanspirited big-budget movie is always a treasurable rarity." |
Richard Schickel |
Tomato |
Marty (1955) |
"Ernest Borgnine as Marty lives up to all the promise he showed as the sadist in From Here to Eternity, and at the same time brilliantly shatters the type-cast he molded for himself in that picture." |
|
Tomato |
Mary Poppins (1964) |
"The sets are luxuriant, the songs lilting, the scenario witty but impeccably sentimental, and the supporting cast only a pinfeather short of perfection." |
|
Splat |
Mary Shelley's Frankenstein (1994) |
"Branagh doesn't evoke terror, only repulsion." |
Richard Schickel |
- |
Mastergate (1992) |
Click here to see the review. |
|
Tomato |
Match Point (2005) |
"Allen's sharpest film in a decade (granted, a pretty weak decade) amasses all the fixings of a sexy thriller." |
|
Tomato 3.5/5 |
The Matrix (1999) |
"Given a budget that encourages their kinesthetic skills, the filmmakers tend to go on a bit, but it's mostly a kind of quick, glancing hipness that's being indulged here." |
Richard Schickel |
- |
The Matrix Reloaded (2003) |
"An exclusive look at the year's most avidly anticipated film epic." |
Richard Corliss |
Splat |
Max Payne (2008) |
"The moviegoers are passive hostages on a long ride they've taken so many times before. So gameboys are advised to man their PlayStations this weekend; action-movie fans in search of red meat can wait for the inevitably more graphic DVD version." |
Richard Corliss |
Tomato |
Me and Orson Welles (2009) |
"Welles is brilliantly embodied by Christian McKay in one of those, hey-who's-that? performances that tends to draw Oscar talk, even if the film itself isn't much more than an extremely pleasant lark." |
Mary F. Pols |
Splat |
Meatballs (1979) |
"Through it all, Murray smiles and forges ahead, but his big riffs have been edited down to frantic bursts of mugging." |
Frank Rich |
Tomato |
Meet the Parents (2000) |
"Alas, poor Focker. He can't help himself. And we can't help ourselves from falling about, equally helpless, at this superbly antic movie." |
Richard Schickel |
Tomato |
Melody Time (1948) |
"The straight technical expertism is still one of the wonders of the movie world." |
|
Tomato 3.5/5 |
Memento (2001) |
"Full of odd, hypnotic menace." |
Richard Schickel |
Tomato 3.5/5 |
Men of Honor (2000) |
"There's something refreshing about its utterly unembarrassed embrace of the familiar." |
Richard Schickel |
Tomato |
Mephisto (1981) |
"Few have dared what Brandauer accomplishes: showing us a good actor responding to the same neurotic drive for the center of the stage, the immortalizing role. His is a great performance, nothing less." |
Richard Schickel |
Splat |
Merry Christmas, Mr. Lawrence (1983) |
"The Merry Christmas catalogue of atrocities finally becomes numbing, even ludicrous." |
Richard Corliss |
Tomato |
Miami Vice (2006) |
"Mann is good at action, especially when it comes to surprises -- the sudden blossoming of blood behind a gunned-down bad guy, the mighty explosion that we aren't expecting." |
Richard Schickel |
Tomato |
Michael Clayton (2007) |
"Full of plausible characters who are capable of surprising — and surpassing — your expectations." |
Richard Schickel |
Tomato |
Michael Jackson's This Is It (2009) |
"It proves that, at the end, he was still a thriller. Fans and doubters alike can look at the gentle, driven singer-dancer at the center of this up-close document and say admiringly, This was him." |
Richard Corliss |
Splat |
A Mighty Heart (2007) |
"This movie does not fully separate itself from our admittedly low -- even slightly shameful -- expectations, does not become the pure documentary it might perhaps better have been." |
Richard Schickel |
Tomato |
A Mighty Wind (2003) |
"The sweetest and funniest of Guest's true-life fake-umentaries." |
Richard Corliss |
Tomato |
Million Dollar Baby (2004) |
"Like Eastwood, it's a relic that dazzles you with its footwork, daring and class." |
Richard Corliss |
Tomato 4.5/5 |
Minority Report (2002) |
"Spielberg's sharpest, brawniest, most bustling entertainment since Raiders of the Lost Ark and the finest of the season's action epics." |
Richard Corliss |
Tomato |
Misery (1990) |
"Popular moviemaking -- elegantly economical, artlessly artful -- doesn't get much better than this." |
Richard Schickel |
Tomato |
Miss Potter (2006) |
"...An honorable and curiously winning film." |
|
Splat |
Missing (1982) |
"A story that could have made for a brisk jeremiad on 60 Minutes is stretched to 122 minutes of heroes fuming and villains purring their oleaginous apologies. Spacek and Lemmon, an appealing sweet-and-sour combo, sink in the swamp of good intentions." |
Richard Corliss |
Tomato |
The Missing (2003) |
"Jones, the actor, has never been more wry, sly and taciturn." |
Richard Schickel |
Splat |
Mission: Impossible (1996) |
"An infinite trailer that is all effects, no affect." |
Richard Schickel |
Tomato |
Mission: Impossible III (2006) |
"M:i:III accomplishes its mission: to run smart variations on dumb tropes. After all, summer movies are not for students but for thrill consumers. Devour and enjoy." |
Richard Corliss |
Tomato |
Modern Times (1936) |
"It is a gay, impudent and sentimental pantomimic comedy in which even the anachronisms are often as becoming as Charlie Chaplin's cane." |
|
Splat |
Mona Lisa Smile (2003) |
"With Katherine's lectures on the dead-artists society, the movie seems to tout rebellious originality. In fact, it's a lesson in emotional conformity." |
Richard Corliss |
Tomato |
Monsters vs. Aliens (2009) |
"The DreamWorkers can be satisfied with having produced another crowd-pleasing, expert-babysitting vaudeville turn." |
Richard Corliss |
Tomato |
Monsters, Inc. (2001) |
"The good guys are those who realize that laughter is stronger than fear. That's a message worth taking to heart these jittery days." |
Richard Corliss |
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