Splat |
Amelia (2009) |
"It leaves the odd impression of being merely a very long trailer for a film you'd actually love to see." |
Mary F. Pols |
Tomato |
An Education (2009) |
"Mulligan is the film's headline, pulse and revelation. In its blithely subversive way, her starmaking performance is a co-conspirator with the movie. Both of them win you over with smart talk and pretty feelings, then kick you in the heart." |
Richard Corliss |
Tomato |
Angels & Demons (2009) |
"As transparent as this device is, Angels has elemental satisfactions in its blend of movie genre that could appeal to wide segments of the audience." |
Richard Corliss |
Tomato |
Astro Boy (2009) |
"The animation style is supple and assured. And if the audience includes any precocious kids like Toby, they'll be diverted by references to Isaac Asimov and Immanuel Kant." |
Richard Corliss |
Tomato |
Avatar (2009) |
"It's an impossible but completely plausible and seductive world that invites your total immersion. Don't resist it; sink in and fly with it. All Cameron asks is that you open your eyes." |
Richard Corliss |
Tomato |
American Teen (2008) |
"It's hard not to root for these teens." |
Richard Corliss |
Tomato |
Australia (2008) |
"Australia delivers with real panache." |
Richard Schickel |
Tomato |
Across the Universe (2007) |
"Even those resistant to or unmoved by the story can appreciate Taymor's settings of the songs, and the arrangements by T-Bone Burnett and other studio masters." |
Richard Corliss |
Tomato |
After The Wedding (2007) |
"It speaks the universal language of high romance in the distinctly unromantic Danish tongue. But don't be put off by that. It is a kind of treat we are only rarely offered these days." |
Richard Schickel |
Tomato |
American Gangster (2007) |
"An intelligent, well-made and seductive movie." |
Richard Schickel |
Tomato |
A Scanner Darkly (2006) |
"[Linklater] has made the first close adaptation of a Dick novel." |
Richard Corliss |
Tomato |
All The King's Men (2006) |
"Zaillian's movie is much more a reimagining than a remake, and it's much more faithful to the tone of the novel, which is by no means easy to duplicate." |
Richard Schickel |
Splat |
Apocalypto (2006) |
"Gibson is a primitive all right, but so were Cecil B. DeMille and D.W. Griffith, and somehow we survived their idiocies. Doubtless there will come a day when he joins them in the Valhalla of the vacuous." |
Richard Schickel |
Tomato |
The Aristocrats (2005) |
"A master class in comedy, in all its cruel, larkish, obsessive creativity." |
Richard Corliss |
Tomato |
Alexander (2004) |
"A long, lumpy trip with a charismatic guide and some brilliant detours." |
Richard Corliss |
Tomato |
Anger Management (2003) |
"Even a longtime Adamophobe has to admit that Sandler is an agreeable presence here, and that the film has some funny filigree work to offset the oppressive schematics." |
Richard Corliss |
Tomato 4/4 |
About Schmidt (2002) |
"Payne also understands what it has taken me most of a lifetime to comprehend: that the Schmidts of this world are not to be easily dismissed." |
Richard Schickel |
Tomato 4/5 |
A.I. Artificial Intelligence (2001) |
"Spielberg laid the burden of the film on Osment like a backpack, and the young trouper carries it." |
Richard Corliss |
Tomato 5/5 |
Amores Perros (2001) |
"[The] sense that even hair-trigger lives, always poised on the edge of self-destructive lunacy, deserve to be sympathetically understood is Amores Perros' redeeming grace." |
Richard Schickel |
Tomato |
Angel Eyes (2001) |
"The movie works because Lopez gives such a terrific performance." |
Richard Schickel |
Tomato |
Almost Famous (2000) |
"The movie's so clever and endearing, you can forget the almost." |
Richard Corliss |
Tomato |
All About My Mother (1999) |
"It brims with life." |
|
Splat |
Any Given Sunday (1999) |
"Almost three hours of this jitter deteriorates from bravura filmmaking to annoying mannerism, and Any Given Sunday ends up less than the sum of its many, often interesting parts." |
Richard Schickel |
Splat 3/5 |
American History X (1998) |
"A confused, randomly compelling family melodrama." |
Richard Corliss |
Tomato |
Antz (1998) |
"Kids may be puzzled by rebellious worker ants chanting Marxist slogans, but their parental guides may welcome the relief from the prevailing blandness of family films." |
Richard Schickel |
Splat |
Armageddon (1998) |
"...doesn't give a hoot about making a deep, humanistic impact on us." |
Richard Schickel |
Tomato |
Absolute Power (1997) |
"The plot is a doomsday version of Bill Clinton's Paula Jones problem, but the theme is impending mortality--settling scores before time's up." |
Richard Corliss |
Tomato |
Air Force One (1997) |
"The stalking struggle between reason and unreason that precedes it is much more gripping--and fun." |
Richard Schickel |
Tomato |
Alien Resurrection (1997) |
"Less frightening, but as much fun as ever." |
Richard Schickel |
Tomato |
The American President (1995) |
"As bustling and impassioned as the best Sturges and Capra movies." |
Richard Corliss |
Tomato |
Apollo 13 (1995) |
"From lift-off to splashdown, Apollo 13 gives one hell of a ride." |
Richard Corliss |
Splat |
Addams Family Values (1993) |
"Like the first of the Addams chronicles, this is an essentially lazy movie, too often settling for easy gags and special effects that don't come to any really funny point." |
Richard Schickel |
Tomato |
Aladdin (1992) |
"It juggles a '90s impudence with the old Disney swank and heart." |
Richard Corliss |
Tomato |
Akira (1988) |
"The movie, even at 124 minutes, has the densely packed sweep and go-for-it pep of a pop epic." |
Jay Cocks |
Tomato |
Aliens (1986) |
"The trouble Ripley has found this time is exponentially bigger and scarier than anything she encountered in Ridley Scott's memorably minimalist, eerily elegant 1979 film." |
|
Tomato |
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984) |
"A state-of-the-art spaceship flying at the speed of light without narrative coordinates, Buckaroo Banzai is the very oddest good movie in many a full moon." |
Richard Corliss |
Tomato |
All of Me (1984) |
"Martin vaults to the top of the class with his brazen, precise performance. This one goes in the time capsule." |
Richard Corliss |
Splat |
All the Right Moves (1983) |
"his naive little movie hopes to prove itself the Flashdance of football." |
Richard Corliss |
Tomato |
Absence of Malice (1981) |
"Absence of Malice does not invalidate All the President's Men. But with entertainment values -- and a moral sense -- every bit as high as that film's, it observes that there is an underside to journalistic gallantry." |
Richard Schickel |
Tomato |
Arthur (1981) |
"Moviegoers are hereby alerted to some good fun." |
Richard Schickel |
Splat |
All That Jazz (1979) |
"Though Scheider is a wry, sensitive actor, he soon gets lost in the vulgar theatrics." |
Frank Rich |
Tomato |
Annie Hall (1977) |
"Personal as the story he is telling may be, what separates this film from Allen's own past work and most other recent comedy is its general believability." |
Richard Schickel |
Tomato |
Amarcord (1974) |
"Fellini is so bountiful with incident and observation that he makes most other film makers seem stingy." |
Jay Cocks |
Tomato |
The Aristocats (1970) |
"The animals' exuberance is so infectious and their "acting" so true to human life that by the fadeout The Aristocats does, indeed, give the audience paws for reflection." |
Stefan Kanfer |
Tomato |
Alice's Restaurant (1969) |
"[Penn] has transformed a charming shaggy-dog story into a melancholy epitaph for an entire era." |
|
Tomato |
The Absent-Minded Professor (1961) |
"Flubber provides fuel for a very funny piece of hyperbolic humor in the grand American tradition of Paul Bunyan, and Director Robert Stevenson and Scriptwriter Bill Walsh get plenty of bounce out of every ounce." |
|
Tomato |
The Apartment (1960) |
"A comedy of men's-room humours and water-cooler politics that now and then among the belly laughs says something serious and sad about the struggle for success, about what it often does to a man, and about the horribly small world of big business." |
|
Tomato |
Anatomy of a Murder (1959) |
"At 160 minutes, Anatomy is longer than the subject warrants, but the pace seldom slackens -- thanks to the competence of Director Otto Preminger." |
|
Tomato |
Around the World in 80 Days (1956) |
"The wonder is that this Polyphemus of productions does not simply collapse of its own overweight; but, thanks principally to Showman Todd, the picture skips along with an amazing lightness." |
|
Tomato |
An American in Paris (1951) |
"A grand show -- a brilliant combination of Hollywood's opulence and technical wizardry with the kind of taste and creativeness that most high-budgeted musicals notoriously lack." |
|
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