Tomato 2.5/4 |
Analyze That (2002) |
"Analyze That is more beaded than filmed. It's a string of mildly connective skit bits held together by capable casting and silly nonsense." |
David Elliott |
Tomato |
Analyze This (1998) |
"Robert De Niro is so funny!" |
David Elliott |
Splat 2/4 |
Anchorman: The Legend of Ron Burgundy (2004) |
"The laughs arrive on stale crackers of the easy, breezy and familiar." |
David Elliott |
Splat 2/4 |
And Now Ladies and Gentlemen (2003) |
"The fizz in this fez seems to be about three-fourths carbonated lemonade." |
David Elliott |
Tomato 4/4 |
Andy Goldsworthy - Rivers and Tides: Working With Time (2003) |
"Riedelsheimer captures this aspect of Goldsworthy's work and holds up a many-faceted mirror to its beauty. That is what ultimately makes the film so seductive." |
|
Splat |
Angel Eyes (2001) |
"You can feel your heart not just being pulled, but being flush-pumped by a sentimental cardiologist." |
David Elliott |
Tomato 2.5/4 |
Angel-A (2007) |
"This Parisian fable is a talkathon, affecting a silly toughness, but the sights are good to see again." |
David Elliott |
Splat |
Angela's Ashes (1999) |
"Larded with folksy humor and patronizing empathy." |
David Elliott |
Splat 2/4 |
Anger Management (2003) |
"Filmed with rote banality in every gag setup and visual touch, Anger Management is not bad enough to make you angry, because inevitably the cast cooks some silly fun." |
David Elliott |
Splat |
Anna and the King (1999) |
"This long nap seems to come from a century before movies, maybe even before entertainment was imagined." |
David Elliott |
Splat 1/4 |
Annapolis (2006) |
"Bulling ahead through hackneyed scene after hackneyed scene, it grinds out an hour and 48 minutes of nonstop cliche, never offering so much as a marginally clever line, never succumbing to an original thought, never veering from the rutted path." |
Arthur Salm |
Splat |
Antitrust (2001) |
"Phillippe seems mainly concerned not to wrinkle his brow, Forlani becomes an empty enigma with a conveniently late case of morals, and Rachael Leigh Cook, as the cyber-fawn Lisa, might as well go outside and munch the grass." |
David Elliott |
Tomato 2.5/4 |
Antwone Fisher (2002) |
"Washington directed, and like most actors-turned-directors he brings great care to establishing performances, favoring strong close-ups." |
David Elliott |
Splat |
Any Given Sunday (1999) |
"The Sharks may finally win, but viewers (and fans) are consistent losers." |
David Elliott |
Splat 2/4 |
Anything Else (2003) |
"The craft glows but the movie creaks and fiddles, with situations created for gags rather than the other way around." |
David Elliott |
Tomato |
Anywhere But Here (1999) |
"Susan Sarandon adds another milestone to her own path, and Natalie Portman takes a great step on what promises to be a major career." |
David Elliott |
Tomato |
Apocalypse Now Redux (2001) |
"This messterpiece is sometimes masterful, at times a dud, still in-progress and heading up-river." |
David Elliott |
Splat 1/4 |
Apocalypto (2006) |
"Apocalypto is a big load of sado." |
David Elliott |
Tomato 2.5/4 |
Aqua Teen Hunger Force Colon Movie Film For Theatres (2007) |
"The animation is pastiche but impudently inventive, with pop culture eating its furry tail after a long lick." |
David Elliott |
Tomato 3.5/4 |
Ararat (2002) |
"There is a fabric of complex ideas here, and feelings that profoundly deepen them." |
David Elliott |
Splat 1/4 |
Are We Done Yet? (2007) |
"Puerile prop gags slapped in without development, an inane score, dud reactions, Steve Carr's dismal direction, a Magic Johnson phone-in cameo -- it adds up to the question that keeps arising, which is (yep) the title." |
David Elliott |
Splat 1/4 |
Are We There Yet? (2005) |
"The answer to Are We There Yet? is, yes, we are there -- in comedy hell." |
David Elliott |
Tomato 3.5/4 |
Army of Shadows (1969) |
"There is little safety in Army of Shadows, and its dangers add up humanly, not melodramatically (to call it a 'war film' seems trite)." |
David Elliott |
Splat 1/4 |
Around the Bend (2004) |
"Shamelessly sincere and shamefully contrived." |
David Elliott |
Splat |
The Art of War (2000) |
"The crowd filing out of The Art of War -- silently and uneasily, as was the way they sat through the film -- seemed downright sullen. More than a few looked as if they had headaches." |
Arthur Salm |
Splat 2/4 |
Art School Confidential (2006) |
"The movie has no supportive theme or rhythm, nothing to bind its dotty patches together." |
David Elliott |
Splat 2/4 |
Arthur and the Invisibles (2007) |
"The story [Besson] co-wrote for Arthur is workable, even clever at times, but the visualization of the Minimoys and their crib is weird and almost aggressively off-putting -- like an episode of When CGI Attacks!" |
James Hebert |
Tomato 3/4 |
Assassination Tango (2003) |
"Watching a Robert Duvall performance has become like putting on a great, weathered pair of boots -- you know it will feel good and you will want to go the distance." |
David Elliott |
Splat 2/4 |
Assault on Precinct 13 (2005) |
"The modern firepower is somehow less exciting than the smaller weaponry of 1976." |
David Elliott |
Tomato 3/4 |
The Astronaut Farmer (2007) |
"This oddball has something beyond root-for-the-roots sentiments. Thornton, well into his own orbit, is very genuinely appealing as a guy who wires his big dream machine to a loose but glowing screw in his head. Rise up, farm bird." |
David Elliott |
Tomato 2.5/4 |
ATL (2006) |
"But the story behind ATL (credited to Antwone Fisher, the onetime Navy man in San Diego who had a movie made about his life four years ago) for the most part feels genuine and resonant." |
James Hebert |
Tomato |
Atlantis: The Lost Empire (2001) |
"This show is quite possibly the most enjoyable Disney 'tooner since Aladdin." |
David Elliott |
Tomato 4/4 |
Atonement (2007) |
"Atonement, a triumph of adulthood, atones for a lot of shoddy stuff at the movies in 2007." |
David Elliott |
Splat |
Audition (2001) |
"Only auditions ideas (including militant feminism) and its art touches are a pottage of old horror tricks." |
David Elliott |
Splat 1.5/4 |
Austin Powers in Goldmember (2002) |
"It may seem harsh to chastise a comedy that just wants to be a jamboree of goofs, yet the camp gaudiness of this show is oppressive." |
David Elliott |
Tomato |
Austin Powers: The Spy Who Shagged Me (1999) |
"There is a shageriffic bonus: not just a return by Robert Wagner, but a dead-on parody of Wagner by Rob Lowe." |
David Elliott |
Tomato 3/4 |
Auto Focus (2002) |
"Kinnear brings just enough depth to Crane that we feel tiny spins of pathos." |
David Elliott |
Splat 2.5/4 |
Avenue Montaigne (2007) |
"While a Feydeau farce fits well, and the salute to a Brancusi sculpture is sweet, Beethoven piano passages overload the souffle." |
David Elliott |
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