Tomato B |
L'Enfant (2006) |
"The Dardennes' eye for detail and feel for character rhythms give it an authenticity, and their compassion and belief in redemption give us a reason to care." |
Sean Axmaker |
Tomato B |
L'Ennui (1998) |
Click here to see the review. |
Sean Axmaker |
Tomato A |
L'Iceberg (2005) |
"Words seldom intrude on the sight gags that range from elegant to acrobatic, and the collective directors exhibit the rare bravery to let a static camera linger to crank comic tension." |
Gianni Truzzi |
Tomato B |
L.I.E. (2001) |
"An original, well-crafted plea that uses restraint instead of titillation to make a cautionary tale that aches with pathos and power." |
Paula Nechak |
Tomato B |
La France (2007) |
"Serge Bozon's quietly disturbing fable takes place in northern France in the middle of Word War I." |
Bill White |
Tomato B+ |
La Moustache (2005) |
"A satisfying psychological adventure that powers along nicely on its movie-star performances, the graceful craftsmanship of Emmanuel Carrere's direction and a haunting violin concerto by Philip Glass." |
William Arnold |
Tomato B+ |
La Petite Apocalypse (1993) |
"Desire and sexual pleasure within the laws of religion become central to Karin Albou's quiet and moody drama, which tackles touchy issues with a respectful frankness." |
Sean Axmaker |
Tomato A- |
La Vie En Rose (2007) |
"Olivier Dahan's sprawling portrait of the life of Edith Piaf is the kind of grand, passionate historical drama that no one seems to be able to pull off any more." |
Sean Axmaker |
- |
La Vie En Rose (2007) |
"A Moment with Olivier Dahan" |
Sean Axmaker |
Tomato B |
Ladder 49 (2004) |
"In its best moments, the film works as both an exciting and formula-breaking action-adventure and as an enjoyably sappy tearjerker." |
William Arnold |
Tomato B+ |
Ladies in Lavender (2005) |
"An unusually vivid star vehicle and a genuinely enriching experience." |
William Arnold |
Splat |
The Ladies Man (2000) |
"Tepid and only sporadically amusing." |
Paula Nechak |
Tomato B+ |
The Lady and the Duke (2002) |
"... the texture is startling: a past filtered through our most common visual window on the age." |
Sean Axmaker |
Tomato B+ |
Lady Chatterley (2006) |
"A sensuous film that runs close to three hours. They are gentle, peaceful hours with the bittersweet taste of a story resigned to the inevitable and hopeful for an impossible romantic fantasy that both lovers hold in their hearts." |
Sean Axmaker |
Splat D |
Lady in the Water (2006) |
"Unless I've totally miscalculated the audience appeal of this stinker, the executives he pummeled in that book are going to look more like astute visionaries than back-stabbing traitors, and should be wearing very big smiles come Monday morning." |
William Arnold |
Tomato B+ |
Lady Vengeance (2005) |
"... leaves the comic-book super-villain melodrama and operatic excess of Old Boy for a conflicted story of righteous vengeance at any cost." |
Sean Axmaker |
Splat D |
Ladykillers (2004) |
"This is the clumsiest, crudest and most pandering of all [the Coen brothers'] films." |
William Arnold |
Tomato B+ |
Lagaan (2001) |
"...a rousing fantasy of bloodless revolution against capricious colonial rulers." |
Sean Axmaker |
Splat C+ |
Lake City (2008) |
"When Hill and Moore leave story and characters behind to veer off into suspenseless chases through cornfields, one wonders if the era of earnest American drama may be coming to a close." |
Bill White |
Tomato B |
The Lake House (2006) |
"The sheer novelty of it all helps make the film seem a pleasant and refreshing change of pace." |
William Arnold |
Splat C |
Lake Placid (1999) |
"Terribly mediocre." |
William Arnold |
Tomato B+ |
Lakeboat (2001) |
"Joe Mantegna... brings just the right tone of easy gab and tossed-off tales to this actor's showcase." |
Sean Axmaker |
Splat C- |
Lakeview Terrace (2008) |
"It provokes just to provoke, and that's not just discomforting, it's reckless." |
Paula Nechak |
Tomato B |
The Land Has Eyes (2004) |
"It's the rich layering of detail in the cultural collisions and the complexity of the social politics and cultural mix that reverberates through the film." |
Sean Axmaker |
Tomato B- |
Land of Plenty (2004) |
"Only when the lessons end and characters become simply individuals trying to connect and communicate in the desolate landscape of a forgotten America does the film resonate." |
Sean Axmaker |
Tomato B+ |
Lantana (2001) |
"Lawrence tweaks the stereotypes and creates rich character studies that speak volumes about how we live now as well as what constitutes the basis of happiness." |
Paula Nechak |
Splat C |
Lara Croft Tomb Raider: The Cradle of Life (2003) |
"There's no pacing, no suspense and no vulnerability for the protagonist so it all soon gets numbingly tiresome." |
William Arnold |
Splat D |
Lara Croft: Tomb Raider (2001) |
"The plot is not a plot at all but one of those outlandish fantasy premises that one can swallow in the interests of propelling a game, but sounds embarrassingly silly when spoken aloud." |
William Arnold |
Tomato B- |
Lars And The Real Girl (2007) |
"... a sweet little comedy, as easygoing and warmly innocuous as the benign irony of the title" |
Sean Axmaker |
Tomato B+ |
Lassie (2006) |
"Writer-director Charles Sturridge makes all the right moves in adapting the story, and treats it not just with the respect of a classic but the kind of intelligence, good taste and emotional sensitivity that kid movies rarely get." |
William Arnold |
Tomato B |
The Last Castle (2001) |
"A well-paced, often surprising and consistently compelling action piece." |
William Arnold |
Tomato B |
Last Chance Harvey (2008) |
"... it's a pleasure to see mature portraits of adult characters who put their vulnerabilities on the line." |
Sean Axmaker |
Tomato B |
Last Days (2005) |
"... Van Sant takes an impressionistic, non-linear approach, which creates a queasy disorientation in this atmosphere of decay and deterioration." |
Sean Axmaker |
Splat C |
Last Holiday (2006) |
"... overlong (it's almost two hours) and unfocused, but thanks to Latifah, at least you're in amiable company." |
Sean Axmaker |
Tomato B |
The Last House on the Left (2009) |
"Iliadis is more visually sophisticated than Craven was in 1972 and works hard to sustain the mood and tension while still hitting the audience with blunt scenes of wincing violence." |
Sean Axmaker |
Tomato B+ |
The Last King of Scotland (2006) |
"A devastating morality tale that shows just how easy it is for a well-meaning outsider to become lost in a culture he doesn't understand, and to find himself seduced and corrupted by taking very small and seemingly reasonable steps." |
William Arnold |
Tomato B |
The Last Kiss (2002) |
"Muccino is honest in the emotional damage left by his immature men and passionate in his portraits of twentysomething commitment-phobes struggling against growing up." |
Sean Axmaker |
Splat C |
The Last Kiss (2006) |
"An exceptional Italian film becomes an average American one in this bland remake." |
Bill White |
Tomato B+ |
Last Life in the Universe (2004) |
"... a dreamy study in stillness broken by suicide fantasies, flashbacks, and the hired killers, but even the violence has a meditative even melancholy quality to it..." |
Sean Axmaker |
Tomato B |
The Last Mimzy (2007) |
"The film incorporates many beliefs and in its concern for the human condition makes a case for the past and present providing lessons the future can learn in a way that is reassuring, humane, thought-provoking and entertaining." |
Sean Axmaker |
Splat C |
The Last Mistress (2008) |
"The Last Mistress is grindingly predictable, its view of sex as hand-to-hand combat (the lovers here assault each other like Sumo wrestlers) is often unintentionally funny and the casting is all wrong." |
William Arnold |
Tomato B |
Last Night (1998) |
"By far the best thing about Last Night is its conclusion." |
William Arnold |
Tomato B |
Last Orders (2002) |
"Finely crafted, admirably ambitious in design and fueled by uniformly delicious performances by its cast of old pros." |
William Arnold |
Tomato |
Last Resort (2001) |
"Polish director Pawel Pawlikowski is an exhilarating visual storyteller." |
William Arnold |
Tomato B+ |
The Last Samurai (2003) |
"It over-romanticizes the samurai ethic and is likely to raise the ire of historians with its many contrivances, but it's a rousing epic that fills the screen with ritualized battle and an engagingly offbeat vehicle for America's biggest movie star." |
William Arnold |
Splat C- |
The Last September (1999) |
Click here to see the review. |
William Arnold |
Splat C |
The Last Shot (2004) |
"[Nathanson has] loaded the movie with so much adolescent crudity that there's precious little room left for anything else, including wit." |
William Arnold |
Splat C+ |
The Last Sin Eater (2007) |
"The film exposes one of its most distracting flaws: its low production values." |
Manny Lewis |
Tomato A |
The Last Waltz (1978) |
"A mesmerizing time capsule that captures the voice of the '60s counterculture at the very moment it was about to pass from the center stage of American life." |
William Arnold |
Tomato |
Last Year at Marienbad (1961) |
"Love it or hate it, no one's cinematic education is complete without having taken this baffling, haunting, uniquely challenging movie ride." |
William Arnold |
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