Tomato 4.5/5 |
F For Fake (1976) |
"Part essay, part apologia, part prank, Orson Welles's F For Fake, one of the most inventive and invigorating nonfiction features ever made, is about the artist as con man and the con man as artist." |
|
Tomato 3/4 |
F/X (1986) |
"A competent and unpretentious entertainment." |
|
Tomato 4/4 |
Faat-Kiné (2001) |
"An ebullient and resolutely feminist look at Africa's post-colonial future from Senegal's Ousmane Sembene." |
Ken Fox |
Splat 2.5/5 |
Face (1997) |
Click here to see the review. |
|
Tomato 2.5/5 |
Face (2004) |
"New Jersey-born, Taiwan-raised director/cowriter Bay-Sa Pan gives the conflict a culturally particular spin and elicits strong performances from her appealing cast." |
Maitland McDonagh |
Tomato 4/4 |
A Face in the Crowd (1957) |
"A raw, penetrating, and terrifying portrait of humanity." |
|
Tomato 3.5/4 |
Face Off (1997) |
"This brutal, stunningly choreographed spectacle weaves together lyrical beauty, blasphemy, sadistic cruelty and grotesque sentimentality with breathtakingly smooth assurance." |
Maitland McDonagh |
Tomato 4/4 |
Face to Face (1976) |
"An extremely intense experience from start to finish, due in large part to Ullmann's performance as she powerfully expresses a range of emotions seldom seen in American films." |
|
Tomato 4/4 |
Faces (1968) |
"Though it is sometimes a tedious viewing experience, its improvisational and documentary techniques are rewarding." |
|
Tomato 3.5/5 |
Facing the Music (2002) |
"If a year in the life of a university department head doesn't sound like the stuff of a riveting documentary, please allow this stirring film by husband and wife filmmakers Bob Connolly and Robin Anderson to change your mind." |
Ken Fox |
Tomato 3/5 |
Facing Windows (2003) |
"Blends history and mystery into an entertaining, if slight, romance." |
Ken Fox |
Splat 2.5/4 |
Factory Girl (2007) |
"Miller gives a go-for-broke performance as the increasingly desperate and undone Sedgwick. But she lacks the fragile charisma evident in even the coarsest Warhol films, and without it there's no reason to care." |
Maitland McDonagh |
Tomato 2.5/4 |
Factotum (2006) |
"What makes any of it work is Dillon's attention to the subtleties of the man's speech and mannerisms, which turns what might have been a casting disaster into a remarkably satisfying portrayal." |
Ken Fox |
Tomato 4/4 |
Fahrenheit 451 (1966) |
"A marvelously courageous personal statement that becomes more fascinating with time." |
|
Tomato 3/5 |
Fahrenheit 9/11 (2004) |
"Infuriating and challenging in equal parts." |
Maitland McDonagh |
Splat 2.5/4 |
Failure to Launch (2006) |
"The main story, whose creepy premise demands major tiptoeing around lest it slip into the realm of outright smarminess thoroughly unsuitable for a PG-13-rated comedy." |
Maitland McDonagh |
Splat |
Faithless (2001) |
"Lugubriously paced." |
Ken Fox |
Splat 1.5/4 |
Fall (1997) |
"A narcissistic, ego-driven gabfest courtesy of indie auteur Eric Schaeffer, who appears not to have figured out that therapy is cheaper than moviemaking." |
|
Tomato 3/4 |
The Fall (2008) |
"[Tarsem] Singh's visual sense is stunning, but he's also attuned to the darker corners of children's imaginations." |
Maitland McDonagh |
Tomato 3.5/4 |
The Fall of the House of Usher (1960) |
"A superlative Corman/AIP effort and a great beginning to a varying but always interesting series of horror films." |
|
Tomato 3/4 |
Fallen (1998) |
"Director Gregory Hoblit consistently opts for an atmosphere of gloomy malaise rather than going for the cheap shocks." |
Maitland McDonagh |
Tomato 3/4 |
The Fallen (2005) |
"Italian locations, strong acting in three different languages, and sharply written snapshots of individual soldiers from all four sides of the conflict add up to a multifaceted close-up of daily life on the lines." |
Ken Fox |
Tomato 3.5/4 |
Fallen Angel (1945) |
"The overall mood, lighting, and pace of the film, nevertheless, are top, hardboiled film noir." |
|
Tomato 4/5 |
Fallen Angels (Hong Kong) (1996) |
Click here to see the review. |
|
Tomato 3/4 |
Falling (2007) |
"Charging Albert's film with looking too much like an American chick flick is to give it short shrift." |
Maitland McDonagh |
Tomato 3.5/4 |
Family Law (2006) |
"Writer-director Daniel Burman's (Lost Embrace) drily humorous, poker-faced comedic style is once again used in full play in this funny and touching film." |
Ken Fox |
Tomato 9/10 |
The Family Man (2000) |
"A surprisingly charming fable." |
Maitland McDonagh |
Tomato 3/4 |
The Family Stone (2005) |
"Indie director Bezucha has held on to just enough individuality to breathe a little life into the cliches." |
Maitland McDonagh |
Tomato 4.5/5 |
Fanny and Alexander (1982) |
"A magical movie, Fanny and Alexander is likely to be the achievement for which Bergman will be most remembered." |
|
Tomato 4/4 |
Fantasia (1940) |
"The most ambitious animated feature ever to come out of the Disney studios..." |
|
Tomato 9/10 |
Fantasia 2000 (1999) |
"Stravinsky's 'Firebird Suite' accompanies a beautifully rendered story of death and rebirth." |
Maitland McDonagh |
Splat 2/5 |
Fantastic Four (2005) |
"Superheroes' origin stories are inherently background-heavy, but director Tim Story and screenwriters Simon Kinberg, Michael France and Mark Frost spend too much time on setup." |
Angel Cohn |
Splat 2/4 |
The Fantastic Four: Rise of the Silver Surfer (2007) |
"This follow-up to the much-reviled Fantastic Four is cheerfully stupid, shallow and, frankly, more than a little tedious." |
Maitland McDonagh |
Tomato 3/4 |
Fantastic Planet (1973) |
"Eerie, surreal and a welcome respite from Disney-style animation." |
Maitland McDonagh |
Tomato 3.5/4 |
Fantastic Voyage (1966) |
"Their voyage through the body's bloodstream past assorted organs was created by inventive special effects that make this one of the more visually interesting science fiction films of its era." |
|
Tomato 4/5 |
Far From Heaven (2002) |
"What could have easily become a cold, calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking." |
Ken Fox |
Tomato 2.5/4 |
Far Side of the Moon (2005) |
"Lepage maintains a leisurely pace and lets the narrative wander, but ultimately lands on the right side of the line between contemplative noodling and aimless navel-gazing, ending with an image that's simultaneously melancholy and playful." |
Maitland McDonagh |
Tomato |
The Farewell (2002) |
"Schütte's dramatic snapshot of the artist three days before his death offers an interesting bit of speculation as to the issues Brecht faced as his life drew to a close." |
Ken Fox |
Tomato 3/4 |
Fargo (1996) |
"This may be the warmest movie the Coen brothers have ever made." |
|
Tomato 3.5/5 |
Farmingville (2004) |
"A film that is as complex as the issue it tackles." |
Ken Fox |
Splat 1/5 |
Fascination (2005) |
"Commits a striking number of sins against competent filmmaking." |
Maitland McDonagh |
Tomato 2.5/4 |
Fast & Furious (2009) |
"No matter what, it's safe to say that this entirely acceptable retooling of the franchise makes for a satisfying experience for those who enjoy four-wheeled chases, hot bodies, hot cars, and a tall dose of tough-guy machismo." |
Jeremy Wheeler |
Splat 2/5 |
The Fast and the Furious (2001) |
"Flamboyant car stunts take automatic precedence over its few lazy passes at plot and character." |
Tanya L. Edwards |
Splat 1.5/4 |
The Fast and the Furious: Tokyo Drift (2006) |
"To call the film noisy and brainless isn't even a criticism -- it's unadulterated auto-porn, as shallow and shiny as it wants to be." |
Maitland McDonagh |
Splat 1.5/4 |
Fast Break (1979) |
"Totally implausible (though surely not meant to be taken seriously), highly predictable, and not particularly funny." |
|
Splat 2.5/4 |
Fast Food Nation (2006) |
"Many of the film's subtler points are likely to slip by viewers who haven't first read Schlosser's book. Other salient points are shoehorned into the dialogue, rendering key scenes preachy, heavy-handed and dramatically inert." |
Ken Fox |
1.5/5 |
Fast Food, Fast Women (2001) |
"[a] pointless, meandering tale of eccentric New Yorkers navigating the treacherous waters of love and survival" |
Maitland McDonagh |
Tomato 4/5 |
The Fast Runner (2002) |
"A positively thrilling combination of ethnography and all the intrigue, betrayal, deceit and murder of a Shakespearean tragedy or a juicy soap opera." |
Ken Fox |
Tomato 3/4 |
Fast Times at Ridgemont High (1982) |
"A brashly funny yet sensitive comedy that has become a cult favorite." |
|
Tomato 3/4 |
Faster, Pussycat! Kill! Kill! (1965) |
"Gleefully sordid, violent, good-humored exploitation from Russ Meyer, the thinking person's skin-flick director." |
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