Splat |
A.I. Artificial Intelligence (2001) |
"2 hours and 24 minutes of concept stretching and heart massage, a long campaign of total manipulation." |
David Elliott |
Tomato 3/4 |
About a Boy (2002) |
"This is not major drama with major insights. But almost everyone in the film is suffering, and the laughs we get are not thoughtless." |
David Elliott |
Splat 1/4 |
About Schmidt (2002) |
"Payne has taken a giant of American acting and awakened a midget in him -- a miserable, grumpy bore who seems to deserve his pipsqueak destiny." |
David Elliott |
Tomato 2.5/4 |
Accepted (2006) |
"The jokes are often sharp. Also, the scheme is appealing." |
David Elliott |
Splat |
Acts of Worship (2001) |
"Honesty, a great virtue, is insufficient to make a good film." |
David Elliott |
Splat 0/4 |
Adam & Steve (2006) |
"A clunky doofus, a comedy of meet-cutes and weak jokes." |
David Elliott |
Splat 1.5/4 |
Adam Sandler's Eight Crazy Nights (2002) |
"The Hanukkah spirit seems fried in pork." |
David Elliott |
Tomato 3.5/4 |
Adaptation (2002) |
"Beyond the doubled Cage compulsion (good acting, even better tech work), the film has rich filler." |
David Elliott |
Splat |
The Adventures of Felix (2001) |
"There is a sort of sun-washed gay complacency to Adventures of Felix, a streak of greeting card glibness." |
David Elliott |
Splat 0/4 |
The Adventures of Pluto Nash (2002) |
"Despite the premise of a good story ... it wastes all its star power on cliched or meaningless roles." |
Jerry McCormick |
Splat |
The Adventures of Rocky and Bullwinkle (2000) |
"The toonies get yanked into real-life scenes that leave comedy groaning." |
David Elliott |
Tomato 3/4 |
After Innocence (2005) |
"Not a special pleader but is fairly special, because Sanders gives it the pressure of straight moral conviction." |
David Elliott |
Splat 2/4 |
After the Sunset (2004) |
"If Hitchcock's To Catch a Thief was the silk purse of travel brochure caper movies, After the Sunset is the pocket plastic disposable." |
David Elliott |
Splat 2/4 |
Against the Ropes (2003) |
"Kallen's interesting story has been pulped, if not pulverized, as a Rocky rouser." |
David Elliott |
Splat 2/4 |
Agent Cody Banks (2003) |
"[Muniz's] cute, was paid $2 million and should start pondering the career arc of Mickey Rooney." |
David Elliott |
Tomato |
Agent Cody Banks 2: Destination London (2004) |
"The menu of Saturday daytime entertainment is served a bit more sharply than by the last Spy Kids romp." |
David Elliott |
Tomato 3/4 |
Aileen: The Life and Death of a Serial Killer (2003) |
"Wuornos became, by the old standards of stark morality, evil, but was undeniably a classic victim and victimizer. Thanks to Broomfield and others, she is a sleepless night that endures." |
David Elliott |
Splat 1.5/4 |
AKA (2002) |
"The triptych scheme underscores the basic blandness of Matthew Leitch as the hero, a cipher on the make." |
David Elliott |
Tomato 3/4 |
Akeelah and the Bee (2006) |
"The movie is sweetly enjoyable, requiring only the ABCs of simple human identification." |
David Elliott |
Tomato 3/4 |
The Alamo (2004) |
"Director and writer John Lee Hancock avoids most of the bombast and showy display of the 1960 John Wayne film." |
|
Splat 1.5/4 |
Alex and Emma (2003) |
"Hudson, a talent graced with special charm as Goldie Hawn's daughter, and the appealing if slightly dorky Wilson are stuck with material that feels immaterial. Almost nonexistent." |
David Elliott |
Splat 1/4 |
Alexander (2004) |
"A spectacular mess, with no real focus or driving force." |
David Elliott |
Splat 2/4 |
Alfie (2004) |
"What's it all about in 2004? Considerably less than in 1966, in the Michael Caine version." |
David Elliott |
Splat 2/4 |
Alias Betty (2002) |
"Miller is playing so free with emotions, and the fact that children are hostages to fortune, that he makes the audience hostage to his swaggering affectation of seriousness." |
David Elliott |
Splat |
All Over the Guy (2001) |
"So it goes, snagging every tripwire of pert banality and ditzy knowingness." |
David Elliott |
Splat 2.5/4 |
All The King's Men (2006) |
"Lavish meandering provides more density than depth, for the one magnet of interest is Willie Stark." |
David Elliott |
Tomato 3.5/4 |
All the Real Girls (2003) |
"This is a real deal about people of interest, and filmmaker Green is truly ripening." |
David Elliott |
Splat |
Almost Famous (2000) |
"Its groupie body lacks gonzo bones." |
David Elliott |
Splat 1/4 |
Alone in the Dark (2005) |
"If you are alone in the dark with Alone in the Dark, be sure to bring chewing gum -- it will provide entertainment." |
David Elliott |
Splat |
Along Came a Spider (2001) |
"The story never works on any level but the glossy, manipulative surface." |
David Elliott |
Splat 2/4 |
Along Came Polly (2004) |
"It achieves the flavor of the commercially processed: blandly crass, inanely edgy, pointlessly bold." |
David Elliott |
Splat 1/4 |
Alpha Dog (2007) |
"It is all so done and overdone, so regurgitated, so late-night TV and what-else-is-new-in-hell." |
David Elliott |
Splat 2/4 |
Alvin and the Chipmunks (2007) |
"It's a free-fall into total plastic. Kids deserve better. Alvin, Simon and Theodore deserve better. But 'tis the season to take what you get." |
David Elliott |
Tomato 3.5/4 |
Amadeus (1984) |
"It captures the smack and wit of Peter Shaffer's stage play." |
David Elliott |
Tomato 3/4 |
Amandla: A Revolution in Four-Part Harmony (2003) |
"Reliably rousing." |
David Elliott |
Tomato 3.5/4 |
Amazing Grace (2007) |
"Often vulnerable, more often inspiring, Gruffudd's Wilberforce not only stirs curiosity but also quickens your conscience. As Fox notes eloquently, he was a great man. One does not have to be religious to believe he had amazing grace." |
David Elliott |
Splat |
Amelie (2001) |
"A sort of anthem for airheads." |
David Elliott |
Splat |
America's Sweethearts (2001) |
"Director Roth's only real nerve is in mocking excessive close-ups in the Walken 'art' travesty. His own movie is a brazen, artless parade of them." |
David Elliott |
Splat 2/4 |
American Adobo (2002) |
"While American Adobo has its heart (and its palate) in the right place, its brain is a little scattered -- ditsy, even." |
Arthur Salm |
Tomato |
American Beauty (1999) |
"A sitcom with a brain, though its depth is pretty synthetic." |
David Elliott |
Tomato 3/4 |
American Dreamz (2006) |
"The topics of American Dreamz are very broad, but the targeting is often lasered." |
David Elliott |
Splat 2/4 |
American Hardcore (2006) |
"You can come away feeling bruised and half-deaf." |
David Elliott |
Splat |
American Outlaws (2001) |
"The script is juvenile and the interplay between the cast members is stale." |
Jessica Yadegaran |
Splat |
American Pie (1999) |
"The movie fails as comedy, farce, coming-of-age story, showcase for young actors and commentary on anything whatsoever." |
Arthur Salm |
Splat |
American Pie 2 (2001) |
"American Pie 2 is not really a movie. It's Universal Pictures playing host to its own frathouse party." |
David Elliott |
Tomato |
American Psycho (2000) |
"Harron achieves a remarkably razored intersection of three genres: the comedy of yupster ambition, the psycho horror thriller and the glib meditation on misogyny." |
David Elliott |
Splat |
An American Rhapsody (2001) |
"Like a heartfelt synopsis of every standardized, TV-bio drama that sets your goodwill racing against boredom." |
David Elliott |
Tomato 4/4 |
American Splendor (2003) |
"A salute to the power of the urban eccentric to worm into a worthy life." |
David Elliott |
Splat 1.5/4 |
American Wedding (2003) |
"The thing is harmless." |
Arthur Salm |
Splat 0/4 |
The Amityville Horror (2005) |
"When characters are this stupid in a story, it's either a comedy or an insult, for asking viewers to be just as stupid in response." |
David Elliott |
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