- |
The Caller (2009) |
"Multinational corporate terrorism as narrative second fiddle to mock sleuthing around via poetry and existential sweet nothings dropped into a voice concealment cell phone device. The Caller: Dial-up assisted suicide by gumshoe." |
Prairie Miller |
Tomato |
Campfire (2002) |
"The primary sentiment, as seems to be the case in many Israeli films lately, is the plight of women in a fairly harsh patriarchal and by extension militarized culture in Israel." |
Prairie Miller |
- |
El Cantante (2007) |
"The music is just fine, but the social sensibility fueling that particular '70s Nuyorican cultural moment in which Lavoe blossomed and self-destructed, is nowhere to be found." |
Prairie Miller |
- |
Capitalism: A Love Story (2009) |
"The Michael Moore Capitalism: A Love Story Interview: On Driving A Stake Through The Heart Of The Capitalist Beast" |
Prairie Miller |
- |
Changeling (2008) |
"Exceedingly commendable and daring fact-based Hollywood filmmaking. And resonant with an integrity and uncompromising truth certain to give the best of outsider indies a run for their money. A seasoned Hollywood screenwriter couldn't make this stuff up." |
Prairie Miller |
Splat |
Chaos (2003) |
"Sort of a Hansel and Gretel outing with machetes and chainsaws substituting for the mythic oven." |
Prairie Miller |
Tomato |
Chaos (2003) |
"The dagger-sharp and tightly knit commentary about how we all tend to forget about the whole of life while trying to live each minute of it, is anything but chaotically crafted and well worth the frantic chase." |
Prairie Miller |
Tomato |
Charlie and the Chocolate Factory (2005) |
"Possibly the first Hollywood movie to design a fairy tale of sorts around globalization, the film conjures a mythic Brit multinational instead of the usual imperial realm, asa basically high caloric magical kingdom." |
Prairie Miller |
- |
Charlie's Angels/Charlie's Angels: Full Throttle (2000) |
"Long Island Woman: Jaclyn Smith Interview" |
Prairie Miller |
Tomato |
Chicago (2002) |
"The film is a kind of ragtime flavored jamfest, laced with noirish nastiness." |
Prairie Miller |
- |
Chosen One, The: Legend of the Raven (1998) |
"Traci Lords Interview" |
Prairie Miller |
Tomato |
The Chumscrubber (2005) |
"Such is the sordid state of affairs in that emerging genre that might be termed suburban noir, as it inches ever closer to horror and the supernatural." |
Prairie Miller |
Splat |
Cinderella Man (2005) |
"And as far as Cinderella's pumpkins go, though the movie ends with Braddock's boxing triumph in Hollywood's notorious freeze-frame approach to history, both Braddock and Baer went on to be decked by Joe Louis." |
Prairie Miller |
- |
Coach Carter (2005) |
"Ashanti may be someone who commands undivided attention as a performer, but when it comes to movies, she just wants to stay small." |
Prairie Miller |
Tomato |
Coach Carter (2005) |
"There's a kick butt performance from Samuel Jackson, the master of the take-no-prisoners motormouth school of acting, even if it is only a high school gym." |
Prairie Miller |
Tomato |
Coach Carter (2005) |
"There's a kick butt performance from Samuel Jackson, the master of the take-no-prisoners motormouth school of acting, even if it is only a high school gym." |
Prairie Miller |
- |
Coffee and Cigarettes (2004) |
"White Stripes Interview" |
Prairie Miller |
Tomato |
Cold Mountain (2003) |
"A searing and haunting period saga with a mournful, universal anti-war lament." |
Prairie Miller |
Tomato |
Collateral (2004) |
"The dapper hitman who proceeds with icy precision on his deadly rounds, is symbolic devil's advocate to this country's challenged collective social conscience now" |
Prairie Miller |
Tomato |
Collateral (2004) |
"That secondary character, the LA underbelly as nocturnal gilded cesspool, has never resonated more." |
Prairie Miller |
Tomato |
The Condemned (2007) |
"While it seems fairly easy to dismiss the movie as just another cons-gone-wild noisy bone cruncher and a vanity showcase for Austin's over the top muscle flexing, it does manage to get in some sucker punch satirical jabs." |
Prairie Miller |
Tomato |
The Condemned (2007) |
"Though wearing its hypocrisy on its sleeve by dabbling in while denouncing violence as entertainment, the posturing is really a mirror image of what goes on every day in America between the parallel universes of the moralizers and media profiteers." |
Prairie Miller |
- |
The Condemned (2007) |
"While it seems fairly easy to dismiss the movie as just another cons-gone-wild noisy bone cruncher and a vanity showcase for Austin's over the top muscle flexing, it does manage to get in some sucker punch satirical jabs." |
Prairie Miller |
Splat |
The Constant Gardener (2005) |
"The director displays little success in really willing to get dirty and immerse himself in foreign soil." |
Prairie Miller |
- |
Constantine (2005) |
"Keanu Reeves Interview" |
Prairie Miller |
Splat |
Constantine (2005) |
"A kind of gothic guerilla warfare, with moody demonologist John Constantine caught in between." |
Prairie Miller |
Tomato |
Control Room (2004) |
"Is simply up to what all journalists should be about in the face of a corporatized, monolithic media - ruffling feathers. This advisory couldn't have come sooner." |
Prairie Miller |
- |
Coraline (2009) |
"Borrowing a bit from Hansel And Gretel, this lush and spooky 3-D enhanced animated world both enchants and disturbs. And with giddy comic interludes by way of peculiar grownups, like the obese Venus on half shell, overstocked with big boob chuckles." |
Prairie Miller |
Splat |
The Core (2003) |
"A mostly static excursion with a weak premise when it comes to explaining what went wrong with the planet, and an even weaker remedy offered for making it right again." |
Prairie Miller |
Tomato |
The Corporation (2004) |
"The undercurrent of this exhaustive critique is really all about good and evil, and in what ways often sordid human history is determined, not as a product of malice, but by the most typical people who could care less." |
Prairie Miller |
Tomato |
The Corporation (2004) |
"The undercurrent of this exhaustive critique is really all about good and evil, and in what ways often sordid human history is determined, not as a product of malice, but by the most typical people who could care less." |
Prairie Miller |
Tomato |
Coyote Ugly (2000) |
"The strangely appealing silliness of Coyote Ugly ain't over till the fat guy dirty dances." |
Prairie Miller |
Splat |
Cradle 2 the Grave (2003) |
"A movie about stealing pricey diamonds rather than strutting around in them, it pits ghetto jewel thieves against martial arts secret agents and high-stakes shopaholics." |
Prairie Miller |
- |
Crash (2005) |
"A film teeming with solemn recognition of the nasty complexities of living in a multicultural society, and much of what remains unspoken racially in America being neatly shoved under a complacent rug." |
Prairie Miller |
Tomato |
Crash (2005) |
"A film teeming with solemn recognition of the nasty complexities of living in a multicultural society, and much of what remains unspoken racially in America being neatly shoved under a complacent rug." |
Prairie Miller |
Tomato |
Crash (2005) |
"A film teeming with solemn recognition of the nasty complexities of living in a multicultural society, and much of what remains unspoken racially in America being neatly shoved under a complacent rug." |
Prairie Miller |
Tomato |
Cronicas (2005) |
"Proceeds breathlessly and hysterically towards a story that in the end, seems to have hardly left the finish line." |
Prairie Miller |
Splat |
Cronicas (2005) |
"Proceeds breathlessly and hysterically towards a story that in the end, seems to have hardly left the finish line." |
Prairie Miller |
- |
Crossing Over (2009) |
"Harrison Ford does a very different sort of reluctant, discombobulated thinking man's action hero this time around, a kinder, gentler immigration cop not into raids, and mocked by his colleagues as an INS girlie guy." |
Prairie Miller |
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