Tomato 3/4 |
The Machinist (2004) |
"The Machinist doesn't offer large rewards beyond Bale's presence and its vague atmosphere of dread, but those are enough." |
Lawrence Toppman |
Tomato 3.5/4 |
Mad Hot Ballroom (2005) |
"These kids may be too small for sports and may not be headed to college on academic scholarships. But for once, they've proven to the world and to themselves that they matter." |
Lawrence Toppman |
Splat 2/4 |
Mad Money (2008) |
"Everyone in the cast treads water, acting-wise -- there's nothing else to do -- except for Latifah, who brings passion to her work." |
Lawrence Toppman |
Splat |
Magnolia (1999) |
"How did Paul Thomas Anderson attain the pinnacle of self-indulgence so quickly?" |
Lawrence Toppman |
Splat |
The Majestic (2001) |
"By comparison, Patch Adams looks like a tough-minded documentary about medical school." |
Lawrence Toppman |
Splat |
Maléna (2000) |
"Should never have come over the water." |
Lawrence Toppman |
Tomato 3.5/4 |
Mamma Mia! (2008) |
"Reality in a musical? That alone makes it worth your open-eared attention." |
Lawrence Toppman |
Splat |
A Man Apart (2003) |
"A Man Apart tries to mingle action elements with emotion but fails." |
Lawrence Toppman |
Tomato 3/4 |
A Man Named Pearl (2008) |
"The film's hero is charismatic: modest, thoughtful, well-spoken, pointing out he achieved remarkable things because he didn't know he wasn't supposed to be able to do them." |
Lawrence Toppman |
Splat 1.5/4 |
Man of the Year (2006) |
"[Laura Linney] shines out of this unappealing murk like a sunflower planted in a coal mine." |
Lawrence Toppman |
Splat 1.5/4 |
Man on Fire (2004) |
"Man on Fire is as ludicrous as John Q, Virtuosity and Out of Time, yet substantially more violent, artificial, self-conscious and dull." |
Lawrence Toppman |
Tomato |
Man on the Moon (1999) |
"Even if you never knew or cared much about Kaufman, you may be drawn into his world through this fictionalized biography." |
Lawrence Toppman |
Tomato |
Man on the Train (2003) |
"A movie that's slow, reflective, full of resignation toward death and small ironies about life." |
Lawrence Toppman |
Tomato 3.5/4 |
Man On Wire (2008) |
"Director James Marsh approaches this subject with a childlike sense of wonder in his documentary, delighting in the skulduggery behind the event." |
Lawrence Toppman |
Splat |
The Man Who Cried (2001) |
"The beginning is a cheat, the ending an absurdity, and virtually everything in between an inanity." |
Lawrence Toppman |
Splat |
The Man Who Wasn't There (2001) |
"It's hard to care about characters with this level of detachment." |
Lawrence Toppman |
Tomato 3/4 |
The Manchurian Candidate (2004) |
"If you ride the paranoiac tide, letting Jonathan Demme's assured direction carry you along, the sardonic humor and anxiety-inducing message work on you." |
Lawrence Toppman |
Tomato 3.5/4 |
March of the Penguins (2005) |
"I decided long ago that I needed no further proof that animals have souls. But if I did need some, I could find it in March of the Penguins." |
Lawrence Toppman |
Splat 2/4 |
Margot at the Wedding (2007) |
"Baumbach creates interesting, psychologically accurate characters, but he doesn't know when to stop." |
Lawrence Toppman |
Tomato 3.5/4 |
Maria Full of Grace (2004) |
"Here the picture took me somewhere I'd never been." |
Lawrence Toppman |
Splat 1.5/4 |
Marie Antoinette (2006) |
"After seeing Sofia Coppola's Marie Antoinette, I realize there was no need for the bloodshed... Had the mobs left [Marie and Louis XVI] alone, they'd have bored themselves and everyone else in the aristocracy to death." |
Lawrence Toppman |
Tomato 3/4 |
Married Life (2008) |
"The acting is well-done and well-balanced, and Peter Deming's cinematography -- part golden, part somber -- suggests the dark side of postwar prosperity, which Americans had begun to contemplate by 1949." |
Lawrence Toppman |
Tomato 3/4 |
Martian Child (2007) |
"Child resolves in a way that's touching, however schmaltzy." |
Lawrence Toppman |
Tomato 3/4 |
Master and Commander: The Far Side of the World (2003) |
"The filmmakers rock us with each volley of cannon fire, storm-driven wave and grisly moment of hand-to-hand combat. They've made a thrilling traditional nautical picture from untraditional books." |
Lawrence Toppman |
Tomato 3/4 |
The Matador (2005) |
"... a wicked comedy with just the mildest amount of pathos to season the blend." |
Lawrence Toppman |
Tomato 3.5/4 |
Match Point (2005) |
"If Hollywood had a Comeback Player of the Year award, Woody Allen would get every vote for 2005." |
Lawrence Toppman |
Tomato 3/4 |
The Matrix Reloaded (2003) |
"One dazzling (if overlong) bridge." |
Lawrence Toppman |
Splat 1.5/4 |
The Matrix Revolutions (2003) |
"The first Matrix stood alone brilliantly. The second carried on the story intriguingly but left gaps the third needed to fill. Instead, Revolutions raises questions without answering any." |
Lawrence Toppman |
Tomato 3.5/4 |
Max (2002) |
"Meyjes' provocative film might be called an example of the haphazardness of evil." |
Lawrence Toppman |
Splat 2/4 |
Mean Girls (2004) |
"Beyond the philosophizing, Mean Girls is a standard collection of low comic jokes ... and a vindication / revenge fantasy directed at moviegoers who are still sad the popular kids didn't like them back in the day." |
Lawrence Toppman |
Splat 1/4 |
The Medallion (2003) |
"The cheapest looking, least exciting, least funny Chan project I've ever seen." |
Lawrence Toppman |
Tomato 3/4 |
Meet the Robinsons (2007) |
"Most of Meet the Robinsons plays like a movie made by ADD adults for ADD children." |
Lawrence Toppman |
Splat 2.5/4 |
Melinda and Melinda (2005) |
"This story jolts to an end as suddenly as if Allen's camera ran out of film." |
Lawrence Toppman |
Tomato |
Memento (2001) |
"Pearce ... dominates the picture through his feral performance." |
Lawrence Toppman |
Tomato 3/4 |
Memoirs of a Geisha (2005) |
"For all its vagueness, the story is never less than visually exquisite ... and aurally appealing." |
Lawrence Toppman |
Splat |
Men in Black II (2002) |
"A useless horror comedy for 2002." |
Lawrence Toppman |
Tomato 3/4 |
The Men Who Stare at Goats (2009) |
"It's Clooney who holds this film together with his charismatic personality and inscrutable demeanor. Cassady may be crazy, but there's enough evidence that he isn't to keep us in suspense." |
Lawrence Toppman |
Tomato 3.5/4 |
The Messenger (2009) |
"The best war movies don't preach against war: They remind us of the costs for soldiers and families and ask us to consider whether those costs are worth paying." |
Lawrence Toppman |
Tomato |
The Mexican (2001) |
"It's Gandolfini, the triggerman with unexpected depths, who steals the show with his sincerity and sensitivity." |
Lawrence Toppman |
Splat 1.5/4 |
Miami Vice (2006) |
"If you really must see Miami Vice (and you mustn't), buy a ticket to something better, then slip into Vice at the 95-minute mark and watch the last third of the movie." |
Lawrence Toppman |
Tomato |
Mickey Blue Eyes (1999) |
"Grant handles the slapstick humor gracefully and speaks his lines with sincerity and warmth." |
Lawrence Toppman |
Tomato |
A Midsummer Night's Dream (1999) |
"Sunny, fast and funny!" |
Lawrence Toppman |
Tomato |
A Mighty Wind (2003) |
"We shouldn't laugh at mental illness, yet [Levy's] quite funny and often touching in his off-the-wall pronouncements." |
Lawrence Toppman |
Tomato 3.5/4 |
Milk (2008) |
"Whatever you think of gay people (or politicians), you may find the movie compelling viewing." |
Lawrence Toppman |
Tomato 4/4 |
Million Dollar Baby (2004) |
"Ranks among the all-time heavyweights of sports movies." |
Lawrence Toppman |
Splat 2.5/4 |
Millions (2005) |
"Boyle confuses whimsy with gas." |
Lawrence Toppman |
Tomato 3/4 |
Mindhunters (2005) |
"Surpasses all other Christie knockoffs." |
Lawrence Toppman |
Tomato |
Minority Report (2002) |
"Spielberg remains under Stanley Kubrick's directorial spell, but Report has almost none of the mawkishness that crippled the last fourth of A.I." |
Lawrence Toppman |
Tomato 3.5/4 |
Miracle (2004) |
"An unexaggerated, heartfelt but not ham-fisted movie." |
Lawrence Toppman |
Splat |
Miss Congeniality (2000) |
"Assures us that a silk purse can be made from a sow's ear, but that's never true for a bad script." |
Lawrence Toppman |