Tomato 7/10 |
Mad Love (2001) |
"Lopez de Ayala's exquisite acting makes us feel the frustration and sadness of a woman fighting against betrayal from all angles." |
Michael Phillips |
Tomato 7/10 |
Made (2001) |
"The brilliant dialogue between Favreau and Vaughn that made Swingers a hit is even funnier and more confrontational here." |
Dan Fazio |
Tomato 8/10 |
The Magdalene Sisters (2003) |
"A powerful piece of agitprop." |
Justin Hartung |
Tomato |
Magnolia (1999) |
"Jason Robards gives the performance of his career as a terminally ill man trying to contact his son: He's so convincing, you fear for Robards' own health." |
Bill Pearis |
Tomato 8/10 |
Maid in Manhattan (2002) |
"Natasha Richardson has a droll turn as a blowsy socialite competing for Fiennes' attention, but Fiennes himself is inexplicably frosty. Yet it hardly matters -- there's already enough pixie dust to make this glass-slipper fantasy fly." |
J. C. Farrow |
Splat 3/10 |
The Majestic (2001) |
"The Majestic is to Frank Capra what a '50s theme restaurant is to the '50s -- nostalgic, but artificial." |
Dan Fazio |
Tomato |
Maléna (2000) |
"Tells a hard and true, though nostalgic, story." |
Chris Barsanti |
Tomato 8/10 |
Malibu's Most Wanted (2003) |
"Much funnier than it has any right to be, Malibu succeeds because it tweaks stereotypes and rarely takes the low road." |
Dan Fazio |
Splat 6/10 |
Mama Africa (2002) |
"Each story is built on a potentially interesting idea, but the first two are ruined by amateurish writing and acting, while the third feels limited by its short running time." |
Justin Hartung |
Splat 3/10 |
A Man Apart (2003) |
"This wannabe hard-boiled thriller plays more like a cartoon than anything else, thanks to its ridiculous, over-the-top violence and characters so thin that you don't care if they get shot." |
Dan Fazio |
Splat |
Man on the Moon (1999) |
"Man on the Moon captures the mood of Kaufman's stand-up act while paying loving tribute to the late comic." |
Steven Boone |
Tomato 8/10 |
Man on the Train (2003) |
"In the end, because he refuses to compromise their fates, director Patrice Leconte manages a kind of sweet tragedy rarely attempted in American films." |
Dan Fazio |
Splat |
The Man Who Cried (2001) |
"An empty and irritating piece of work." |
Dave Kehr |
Splat |
The Man Who Wasn't There (2001) |
"Falls frustratingly short of its potential, thanks to the Coens' inability to construct a fluid narrative or respect characters enough to make them more than live-action cartoons." |
Dave Kehr |
Tomato 9/10 |
The Man Without a Past (2003) |
"Provokes thought and provides joy in equal measure." |
Erich Scholz |
Tomato 7/10 |
Manic (2003) |
"Presents a realistic portrayal of the kids' complicated and confounding mental illness." |
Bill Pearis |
Tomato 7/10 |
Manito (2003) |
"A compelling slice-of-life narrative that draws much of its strength from its non-professional actors." |
Erich Scholz |
Tomato |
Mansfield Park (1999) |
"Smart, clever and spirited, and made with a decidedly modern touch." |
Sandra Ramani |
Tomato |
A Map of the World (1999) |
"Much of A Map of the World is comparable to the work of Fritz Lang, Paul Schrader or any other filmmaker skilled at evoking panic and self-loathing." |
Steven Boone |
Tomato 8/10 |
Master and Commander: The Far Side of the World (2003) |
"You get a week in the Galapagos here, a week of storms there, and precious few battles in between. Diehard action buffs won't know what to do, but if you're the type who appreciates the scenery on a long drive, this is your film." |
Dan Fazio |
Tomato 8/10 |
Matchstick Men (2003) |
"Part family drama, part slick con picture, Matchstick Men works thanks to fantastic acting and a clever script with one giant twist." |
Dan Fazio |
Tomato |
The Matrix (1999) |
"If you haven't had such a reality-blurring experience, run -- don't walk -- to see this film!" |
Matt Diehl |
Tomato 7/10 |
The Matrix Reloaded (2003) |
"Eye-popping sci-fi." |
Dan Fazio |
Splat 6/10 |
The Matrix Revolutions (2003) |
"For all the ponderous philosophizing found in Reloaded, Matrix Revolutions is surprisingly straightforward and more than a little cheesy." |
Bill Pearis |
Tomato |
Max Keeble's Big Move (2001) |
"It's hilarious loudmouth Larry Miller who steals the show as the maniac principal." |
Steven Grimm |
Tomato |
Maybe Baby (2001) |
"A perceptive comedy, punctuated with hilarious appearances from such notable faces as Emma Thompson and Rowan Atkinson." |
Bilge Ebiri |
Tomato |
Me, Myself & Irene (2000) |
"[Carrey] remains a brilliant physical comic, even if the ideas seem less than fresh." |
Dave Kehr |
Splat |
Me, You, Them (2001) |
"Darlene is probably meant to be a symbol for sexual empowerment, but this sparse film never gives her an opportunity to roar." |
Jackie Potts |
Splat 1/10 |
The Medallion (2003) |
"None of the jokes are funny, none of the characters make sense and little of the action is even worthwhile. Stay as far away as possible." |
Dan Fazio |
Tomato |
Meet the Parents (2000) |
"Jay Roach, best known for the broad farce of the Austin Powers films, shows an unexpected flair for directing character comedy." |
Dave Kehr |
Tomato |
Memento (2001) |
"An engaging brainteaser, even if the solution is a bit of a letdown." |
Dave Kehr |
Splat 3/10 |
Men in Black II (2002) |
"The filmmakers trot out all the same gimmicks, but they lose their charm when you know what's coming." |
Dan Fazio |
Splat |
Men of Honor (2000) |
"Packed with clichés." |
Dave Kehr |
Splat |
The Messenger: The Story of Joan of Arc (1999) |
"In Luc Besson's The Messenger: The Story of Joan of Arc, little is compelling, explained or even interesting." |
Sandra Ramani |
Tomato 10/10 |
Metropolis (1927) |
"In its best moments, the film's mix of naivete and audacious imagination projects a primitive dream state -- a quality that more-knowing cinema of later decades could never achieve." |
|
Splat |
The Mexican (2001) |
"Playing down to their irritatingly obtuse characters, Pitt and Roberts get to do plenty of acting, but neither draws much on the charisma that made them movie stars." |
Dave Kehr |
Splat |
Mickey Blue Eyes (1999) |
"Mickey Blue Eyes begins with hints of originality, only to end up on the trite and true low road." |
Brian Farnham |
Tomato |
Mickey Blue Eyes (1999) |
"Count Mickey Blue Eyes as Viterelli's second solid mob comedy of the year!" |
Darren D'Addario |
Tomato |
A Midsummer Night's Dream (1999) |
"A magical world of wonder and delight, full of memorable performances and hearty laughs." |
Sandra Ramani |
Tomato 7/10 |
Midway (1976) |
"Charlton Heston at his restrained yet forceful best." |
Dan Fazio |
Tomato 7/10 |
A Mighty Wind (2003) |
"Guest and his band of improvisers have come up with another funny and weirdly affectionate mockumentary." |
Bill Pearis |
Tomato 7/10 |
Millennium Actress (2003) |
"Satoshi Kon and Sadayuki Murai have dispensed with many of the conventions that plague Japanese anime to create an original and compelling animated fantasy that satisfies as both a historical romance and a philosophical drama." |
Erich Scholz |
Splat |
The Million Dollar Hotel (2001) |
"Poetic nonsense." |
Dave Kehr |
Tomato 8/10 |
Minority Report (2002) |
"A mesmerizing whodunit." |
Dan Fazio |
Splat |
Miss Congeniality (2000) |
"It's time for a career makeover for Bullock, who keeps squandering her girl-next-door likeability on trivial projects like this one." |
Dave Kehr |
Tomato 4/5 |
The Missing (2003) |
"A tough, old-fashioned Western that is a direct and worthy descendent of John Ford's classic, The Searchers." |
|
Splat |
Mission to Mars (2000) |
"The performances distanced and uncharismatic." |
Dave Kehr |
Tomato |
Mission: Impossible II (2000) |
"While there isn't anything in M:I-2 as memorable as the first film's scene with Cruise dangling over a computer terminal, it's a more visceral experience overall." |
Bill Pearis |
Splat |
Molly (1999) |
"Beautiful as she is, Elisabeth Shue is simply impossible to watch without cringing whenever she tries to do autistic." |
Steven Boone |
Splat 2/5 |
Mona Lisa Smile (2003) |
"Serviceable performances from the principals underscore the film's functionality, giving modern star power to its paint-by-numbers plot." |
Erich Scholz |
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