Tomato |
A Nous La Liberte (1931) |
"A period piece in the best sense." |
Jonathan Rosenbaum |
Tomato 4/4 |
A Scanner Darkly (2006) |
"An ambitious animated adaptation of one of the most personal novels by sci-fi visionary Philip K. Dick." |
Andrea Gronvall |
Tomato 4/4 |
A.I. Artificial Intelligence (2001) |
"The most philosophical film in Kubrick's canon, the most intelligent in Spielberg's, and quite possibly the film with the most contemporary relevance that either one has made since Kubrick released Dr. Strangelove in 1964." |
Jonathan Rosenbaum |
Tomato |
About a Boy (2002) |
"Few movies have made better use of Hugh Grant's shallow charm and amused befuddlement than this funny and well-paced adaptation of Nick Hornby's best-selling second novel." |
J. R. Jones |
Tomato |
Abraham's Valley (1993) |
"This beautifully shot, slow-moving, talky meditation on a life of leisure led by an adulterous woman differs most radically from Flaubert's novel in its indifference to the middle class." |
Jonathan Rosenbaum |
Tomato |
Absolute Wilson (2006) |
" Katharina Otto-Bernstein's documentary provides an excellent introduction to the singular vision of avant-garde stage director Robert Wilson." |
Jonathan Rosenbaum |
Tomato |
Accattone (1961) |
"The brutality and frigid despair of this 1962 film have had a lasting impact on political filmmaking." |
Dave Kehr |
Tomato |
Accepted (2006) |
"Sublimely stupid, this collegiate farce plays like a cross between Animal House and Ferris Bueller's Day Off." |
J. R. Jones |
Tomato |
Ace in the Hole (1951) |
"This 1951 film, about a cynical reporter who seizes on the plight of a man trapped in a mine shaft to promote his career, is cold, lurid, and fascinating, propelled by the same combination of moral outrage and sneaky admiration." |
Dave Kehr |
Tomato |
An Actor's Revenge (1963) |
"One of the most dazzling and stylistically audacious Japanese films ever made." |
Jonathan Rosenbaum |
Tomato |
Adam's Rib (1949) |
"The film is a classic, and deservedly so: the conjunction of Tracy's sly listlessness and Hepburn's stridency defines 'chemistry' in the movies." |
|
Tomato |
Addams Family Values (1993) |
"The comedy has moved into high gear and become one of the funniest, most mean-spirited satirical assaults on sunny American values since the salad days of W.C. Fields." |
Jonathan Rosenbaum |
Tomato |
The Addiction (1995) |
"No matter, without exactly transcending the awful material, Ferrara puts it across with astonishing poetry and conviction." |
Jonathan Rosenbaum |
Tomato |
Adoration (2009) |
"Scott Speedman gives a piercing, intelligent performance." |
J. R. Jones |
Tomato |
Adventureland (2009) |
"Like its models, this is funny, smart, and complacent." |
J. R. Jones |
Tomato |
The Adventures of Ichabod and Mr. Toad (1949) |
"Engaging and lively." |
Jonathan Rosenbaum |
Tomato |
The Adventures of Robin Hood (1938) |
"Movies like this are beyond criticism." |
Don Druker |
Tomato |
The African Queen (1951) |
"The direction is often questionable, but the screenplay (by James Agee, John Collier, Huston, and Peter Viertel from C.S. Forester's novel) is a model of tight construction." |
Don Druker |
Tomato |
After Hours (1985) |
"Scorsese's orchestration of thematic development, narrative structure, and visual style is stunning in its detail and fullness; this 1985 feature reestablished him as one of the very few contemporary masters of filmmaking." |
Dave Kehr |
Tomato |
After the Rehearsal (1984) |
"There is something liberating in the very schematism of the project: he no longer needs to pretend that his mouthpieces are real people." |
Dave Kehr |
Tomato |
After The Wedding (2007) |
"As the premise might suggest, Jensen's dramatic structure is so visible this sometimes seems like a late Rod Serling teleplay, but Bier has proved highly adept at merging conventional drama with the immediacy of the Dogma 95 movement." |
J. R. Jones |
Tomato |
Air Force (1943) |
"Howard Hawks finds a perfect vehicle for his study of the male group. William Faulkner polished the dialogue, but as a silent it would still be tremendously exciting and evocative." |
Dave Kehr |
Tomato |
Airplane! (1980) |
"The gags aren't exactly clever, but there are a lot of them, and the cutting finds a fast, effective tempo." |
Dave Kehr |
Tomato |
Aladdin (1992) |
"The results are fun and fast moving, but far from sublime." |
Jonathan Rosenbaum |
Tomato |
Alexander Nevsky (1938) |
"Edouard Tisse's superb photography and Prokofiev's stirring score contribute to a rhythm that is well-nigh irresistible." |
Dave Kehr |
Tomato |
Alexandra (2008) |
"At least one critic has called this Sokurov's most political film, but on its deepest level it considers not a particular war but the complex feelings between mothers and the young men they send out into the world to kill or be killed." |
J. R. Jones |
Tomato |
Alice (1988) |
"Not necessarily for young kids, this is a surrealist version with a great deal of attention accorded to objects." |
Jonathan Rosenbaum |
Tomato |
Alice Adams (1935) |
"Stevens's talent for stepping away from the plotline and creating intimate, casual, and naturalistic moments is given plenty of opportunity here, as it would not be in his later superproductions." |
Dave Kehr |
Tomato |
Alice Doesn't Live Here Anymore (1974) |
"Not always successful, but packed with energy and a lively Oscar-winning performance by Burstyn." |
Jonathan Rosenbaum |
Tomato |
Alice et Martin (1998) |
"The sheer neurotic intensity of Techine's characters -- characteristically stretching both backward and forward in time, as in a Faulkner novel--holds one throughout, as does Techine's masterful direction and many of the other performances." |
Jonathan Rosenbaum |
Tomato |
Aliens (1986) |
"One sequel that surpasses the original." |
Dave Kehr |
Tomato |
All About Eve (1950) |
"The hoped-for tone of Restoration comedy never quite materializes, perhaps because Mankiewicz's cynicism is only skin-deep, but the film's tinny brilliance still pleases." |
Dave Kehr |
Tomato |
All of Me (1984) |
"Martin has become a superb physical comic, and Tomlin brings some unexpected warmth to a cruelly written part. A manic fuzziness takes over in the last reel and spoils some of the pleasure, but it's still a sympathetic effort." |
Dave Kehr |
Tomato |
All of Me (1984) |
"All in all, an unusually amiable and well-made comedy..." |
Jonathan Rosenbaum |
Tomato |
All Quiet on the Western Front (1930) |
"Deserves its reputation as a classic." |
Jonathan Rosenbaum |
Tomato |
All That Heaven Allows (1955) |
"A masterpiece (1955) by one of the most inventive and recondite directors ever to work in Hollywood, Douglas Sirk." |
Dave Kehr |
Tomato 3/5 |
All the Little Animals (1999) |
"The adoption of 19th-century-melodrama conventions seems motivated mainly by a desire to tap into the emotional intensity they offer. I was enthralled by these tactics, but some viewers might gag." |
Jonathan Rosenbaum |
Tomato |
Allah Made Me Funny (2008) |
"Between the sets, director Andrea Kalin generates some pleasant material by following the comics around in their private lives." |
J. R. Jones |
Tomato |
Allegro Non Troppo (1979) |
"It's not only a hilarious send-up of Disney's excesses but a splendid cartoon feature in its own right -- funny and imaginative and lively." |
Jonathan Rosenbaum |
Tomato |
Almanac of Fall (1983) |
"The mise en scene often seems to be composed in counterpoint to the action, but the drama itself (whose Strindbergian power and sexual conflicts are realized with an intensity and concentration that suggests John Cassavetes) carries plenty of charge." |
Jonathan Rosenbaum |
Tomato 2/4 |
Almost Famous (2000) |
"The moral education that follows is fairly predictable ... but Crowe follows its contours with a sharp eye for detail and genuine sympathy for the pathos of some of the delusions involved." |
Jonathan Rosenbaum |
Tomato |
Alphaville (1965) |
"It remains an outstanding example of the filmmaker's power to transform an environment through the selection of detail: everything in it is familiar, but nothing is recognizable." |
Dave Kehr |
Tomato |
Altered States (1980) |
"There isn't a lucid moment in it (and much of the dialogue is rendered unintelligible by Russell's subversive direction), but it has dash, style, and good looks, as well as the funniest curtain line since Some Like It Hot." |
Dave Kehr |
Tomato |
Amarcord (1974) |
"Uneven, loosely structured, and at times pretty vulgar as well as sentimental, but with some touching and lovely episodes." |
Dave Kehr |
Tomato |
Amazing Grace (2007) |
"Screenwriter Steven Knight gracefully articulates the many domestic and international forces at work." |
J. R. Jones |
Tomato 2/4 |
Amen (2003) |
"Amen., a docudrama rather than a documentary, is clearly guided by Shoah's example, asking us to reflect on the Holocaust and what made it possible rather than simply recoil from it." |
Jonathan Rosenbaum |
Tomato |
America The Beautiful (2008) |
"Unexpectedly witty and affecting." |
Reece Pendleton |
Tomato 3/4 |
American Beauty (1999) |
"It does have a welcome freshness." |
Jonathan Rosenbaum |
Tomato |
American Experience - Daughter from Danang (2002) |
"Poignant if familiar story of a young person suspended between two cultures." |
Ted Shen |
Tomato |
The American Friend (1977) |
"Gripping 1977 American thriller from Wim Wenders that turns back on itself with deadly European irony." |
Dave Kehr |
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