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 |
Tomato 2.5/4 |
Accepted (2006) |
"The jokes are often sharp. Also, the scheme is appealing." |
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 |
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 |
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 |
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." |
|
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 |
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 |
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 |
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 |
Tomato 4/4 |
American Splendor (2003) |
"A salute to the power of the urban eccentric to worm into a worthy life." |
David Elliott |
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 |
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." |
|
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 |
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 |
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 |
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 |
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 |
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 |
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 |
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 |
A.I. Artificial Intelligence (2001) |
"2 hours and 24 minutes of concept stretching and heart massage, a long campaign of total manipulation." |
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 |
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 |
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 |
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 |
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 |
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 |
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