- |
Mad Money (2008) |
"Katie Holmes Interview" |
Prairie Miller |
- |
Made of Honor (2008) |
"That we're now in such a safe sex cautionary era aside, turning a horny lecherous guy into Prince Charming is a tad more problematic than, say, transforming that mythic frog. A womanizer's guide to marital bliss." |
Prairie Miller |
Tomato |
Malevolence (2004) |
"There's much more left to the imagination than spelled out with digital artifice." |
Prairie Miller |
- |
Mamma Mia! (2008) |
"There's a neat free spirit versus family values message here, about a dad being no big deal when you can have three. Not to mention that family is more about who loves you, than whatever does or doesn't dangle between their legs." |
Prairie Miller |
Tomato |
The Man Who Copied (2005) |
"It takes a lot of wit and heart to make an engaging and ferociously funny movie out of a dull dead end job. But Brazilian director Jorge Furtado pulls it off nicely." |
Prairie Miller |
Tomato |
The Man Who Copied (2005) |
"It takes a lot of wit and heart to make an engaging and ferociously funny movie out of a dull dead end job. But Brazilian director Jorge Furtado pulls it off nicely." |
Prairie Miller |
- |
The Manchurian Candidate (2004) |
"Denzel Washington Interview" |
Prairie Miller |
Tomato |
The Manchurian Candidate (2004) |
"There isn't a dull moment in this hallucinatory thriller, where the self-serving spin of TV news permeates the story throughout like a malevolent Greek chorus.
" |
Prairie Miller |
Splat |
Margot at the Wedding (2007) |
"An ensemble cast of Kidman, Leigh, Black and Turturro-who should all know better, got together to compete for the worst family member of a bickering, insufferable clan. But isn't yucky family life what people run to the movies to get away from?" |
Prairie Miller |
Tomato |
Maria Full of Grace (2004) |
"The shadowy underworld of drug smuggling is brought into the light and given a radiant and vulnerable human face." |
Prairie Miller |
Tomato |
Maria Full of Grace (2004) |
"The shadowy underworld of drug smuggling is brought into the light and given a radiant and vulnerable human face
" |
Prairie Miller |
- |
Married Life (2008) |
"The ensemble cast chemistry is superb in its nearly suffocating tangle of repressed passions, but the family-values wrap-up of all these messy erotic tensions feels ultimately far too pat and unresolved." |
Prairie Miller |
Splat |
Martian Child (2007) |
"John Cusack gets seriously spaced out, in this cross between A Beautiful Mind and ET." |
Prairie Miller |
Tomato |
Master and Commander: The Far Side of the World (2003) |
"A different kind of ship flick, more about the spicy flow of conversation in the cramped quarters below, than a rip-roaring, rough seas action adventure." |
Prairie Miller |
Tomato |
The Master of Disguise (2002) |
"Carvey has been dipped in fairy dust in a bid to dazzle a new and different kid audience." |
Prairie Miller |
Splat |
The Matrix Reloaded (2003) |
"It's really just assumed that if you didn't care enough to show up the first time and get inducted as a Matrix loyalist, who needs you on reload, ticket or no ticket?" |
Prairie Miller |
Tomato |
Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders (2007) |
"What Spurlock discovers in his scathing investigative inquiry, is a shocking national situation of debt slavery, with all the earmarks of science fiction." |
Prairie Miller |
Splat |
Me Without You (2002) |
"If only the story had been shaped with discipline, subtlety and restraint." |
Prairie Miller |
- |
Mean Girls (2004) |
"Tina Fey Interview" |
Prairie Miller |
- |
Medicine for Melancholy (2009) |
"This stormy stranger sex gentrification romance is a kind of one day stand steamy encounter, also spotlighting hot topics confronting young black people today, especially relevant in light of the contradictions of the Obama phenomenon." |
Prairie Miller |
Splat |
Meet the Fockers (2004) |
"Milk bottles and related metaphors feature prominentlyas breast fetish stand-ins, but with a decidely peculiar asymmetrical preference for just the left one." |
Prairie Miller |
Tomato |
Melinda and Melinda (2005) |
"A movie just shouldn't feel like homework. And with the constant shift in stories and repeatedly reinvented characters, unless you're in the mood for taking notes, you're going to feel like you're invited to rehearsals, rather than the finished product." |
Prairie Miller |
Splat |
Melinda and Melinda (2005) |
"A movie just shouldn't feel like homework. And with the constant shift in stories and repeatedly reinvented characters, unless you're in the mood for taking notes, you're going to feel like you're invited to rehearsals, rather than the finished product." |
Prairie Miller |
- |
Michael Clayton (2007) |
" Suits in deadly combat may not sound like the ideal setup for an action thriller, especially if the labels are of the pricey designer variety. But hey, this is George Clooney, who isn't half bad no matter what he's wearing" |
Prairie Miller |
- |
Michael Clayton (2007) |
"George Clooney's Clayton is conceived as a kind of Erin Brokovich with whiskers and a shady past, a rehabilitated white-collar, ecologically minded corporate greed buster in a solid, if at times sluggish legal thriller." |
Prairie Miller |
- |
A Mighty Heart (2007) |
"Less than compatible chemistry between politically subversive director Michael Winterbottom (Road To Guantanamo) and conservative-minded screenwriter John Orloff (HBO's Band Of Brothers), seems to be pulling the story in nearly opposite directions." |
Prairie Miller |
Splat |
A Mighty Heart (2007) |
"More small screen infotainment than big screen docudrama." |
Prairie Miller |
Tomato |
A Mighty Wind (2003) |
"The film is merciless as it takes sharp aim with smooth, subtle style at many of the celebrity affectations that have been given a pass for too long now." |
Prairie Miller |
Tomato |
Milk and Honey (2005) |
"The characters each make their separate ways through Manhattan's cavernous underbelly, that is less milk and honey than a lunatic Dante's Inferno." |
Prairie Miller |
Tomato |
Milk and Honey (2005) |
"The characters each make their separate ways through Manhattan's cavernous underbelly, that is less milk and honey than a lunatic Dante's Inferno." |
Prairie Miller |
Tomato |
Mindhunters (2005) |
"Brandishes some scary plot maneuvers and builds suspenseful momentum, with a masterful mix of psychological stress and perverse imagination." |
Prairie Miller |
- |
Mirrors (2008) |
"Supernatural troublemakers and psychos under glass in an endlessly dreary, disappointing remake having less to do with keeping you awake at night than struggling to stay awake during viewing." |
Prairie Miller |
- |
Mirrors (2008) |
"Supernatural troublemakers and psychos under glass in an endlessly dreary, disappointing remake having less to do with keeping you awake at night than struggling to stay awake during viewing." |
Prairie Miller |
- |
Mister Foe (2008) |
"A movie about a Scottish Peeping Tom who is sufficiently demented to give even Peeping Toms a bad name, it seems to be a lot less about fetish and voyeurism, than warped emotional espionage as pathological mommy love." |
Prairie Miller |
Tomato |
Mona Lisa Smile (2003) |
"A keen sense of how women have swam through a whole lot of repression and pain back then, to pave the way for females to breeze along through in the here and now." |
Prairie Miller |
Tomato |
Mondays in the Sun (2003) |
"Bottom feeder, out of work adventurers busying themselves with basically anything that will keep the terror of an abyss called the future at bay." |
Prairie Miller |
Tomato |
Mondays in the Sun (2003) |
"Bottom feeder, out of work adventurers busying themselves with basically anything that will keep the terror of an abyss called the future at bay." |
Prairie Miller |
Splat |
Monster-in-Law (2005) |
"In the American tradition of diva moms from hell." |
Prairie Miller |
Splat |
Monster-in-Law (2005) |
"Jane Fonda, playing the title character, immerses herself in the aging dragon-lady stereotype." |
Prairie Miller |
- |
Mother of Tears (2008) |
"Argento's gothic hokey horror homage to sleazy sorceress boobs, demon damsels with too much makeup, and assorted cannibalistic weirdos run amok. Girl witches gone wild, Italian style." |
Prairie Miller |
Tomato |
The Motorcycle Diaries (2004) |
"During this profoundly radicalizing pilgrimage in 1952, Che discovers his need to heal the world, not as a doctor but as a freedom fighter." |
Prairie Miller |
Tomato |
Mr. and Mrs. Smith (2005) |
"If you're willing to believe your spouse when he tells you that the reason he's been staying out late at night is that he's a hitman, then Mr. & Mrs. Smith may be just the tongue-in-cheek thriller for you." |
Prairie Miller |
Tomato |
Mr. and Mrs. Smith (2005) |
"If you're willing to believe your spouse when he tells you that the reason he's been staying out late at night is that he's a hitman, then Mr. & Mrs. Smith may be just the tongue-in-cheek thriller for you." |
Prairie Miller |
Tomato |
Mr. Bean's Holiday (2007) |
"The master of many faces and a bountiful bag of body language tricks where words exist as mere secondary reference points if at all, Atkinson outdoes even himself this time around." |
Prairie Miller |
- |
Mr. Brooks (2007) |
"The notion of guilty pleasure has never been quite so erotically literal and complicit on screen before." |
Prairie Miller |
- |
Mr. Magorium's Wonder Emporium (2007) |
"Let's hope Natalie Portman tending scary toys here, fares better than in her recent dramatic disaster as a church sex slave turned fancy retro call girl, in Goya's Ghosts." |
Prairie Miller |
Tomato |
Must Love Dogs (2005) |
"Too much of a small screen talky episodic sensibility for its own good." |
Prairie Miller |
Tomato |
Must Love Dogs (2005) |
"A goofy, euphoric amorous adventure in matchmaking cyberspace." |
Prairie Miller |
Tomato |
My Best Friend (2007) |
"Questions the negative, indeed emotionally incapacitating influences that the overriding nature of interaction today - commercial relationships between human beings - is having on genuine human bonding." |
Prairie Miller |
- |
My Blueberry Nights (2008) |
"My Blueberry Nights: The Norah Jones Interview" |
Prairie Miller |
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