Splat 2.5/4 |
P.S. (2004) |
"Despite an excellent supporting cast something in p.s. goes mushy and implausible." |
Michael Wilmington |
Splat 2/4 |
P.S. I Love You (2007) |
"Snippets of sharp, witty dialogue are lost in a sea of sappy clichés and too-cute-for-words plot twists." |
Jessica Reaves |
Splat 1/4 |
P2 (2007) |
"The same old grim game of cat and mouse. Sure, we hope the mouse gets away. But mostly we just want the whole thing to end." |
Jessica Reaves |
Splat 1.5/4 |
The Pacifier (2005) |
"The Pacifier is cheerful but mind-numbing." |
Michael Wilmington |
Tomato 3/4 |
The Page Turner (2007) |
"A classical music thriller." |
Michael Wilmington |
Tomato 3/4 |
Paid in Full (2002) |
"It's good, hard-edged stuff, violent and a bit exploitative but also nicely done, morally alert and street-smart." |
Michael Wilmington |
Tomato 3/4 |
The Painted Veil (2006) |
"The acting is quite splendid, especially in the vicinity of the quite splendid Watts." |
Michael Phillips |
Tomato 2.5/4 |
Palindromes (2005) |
"I still don't like it much, but I respect it --because it's the kind of film most American filmmakers won't make, bristling with the kind of issues and questions they hesitate to face." |
Michael Wilmington |
Tomato 4/4 |
The Palm Beach Story (1942) |
"Sturges' dialogue, as always, is not only sharp, but cutting, delivered with typical flair by the charter members of Sturges' company of actors." |
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Tomato 4/4 |
Pan's Labyrinth (2006) |
"Pan succeeds both as a spectacular special-effects fantasy and as a psychological drama, with superb actors." |
Michael Wilmington |
Tomato 4/4 |
Pandora's Box (1928) |
"If you've never seen Brooks -- or Pandora's Box -- you've missed one of the most extraordinary personalities and films of the silent movie era." |
Michael Wilmington |
Tomato 3/4 |
Panic Room (2002) |
"Fincher mounts some clever, tense sequences in which the trio devises increasingly threatening strategies to force Meg and Sarah out of the panic room, only to be matched with improvised ingenuity from behind the vault door." |
Mark Caro |
Splat 2/4 |
Paper Clips (2004) |
"Symbolism is hard to swallow, and it's near impossible to relate to these paper clips as souls, especially when they are talked about in terms of collecting and counting and displaying." |
Allison Benedikt |
Tomato 3/4 |
Paprika (2007) |
"The movie keeps flooding us with strange, scary imagery." |
Michael Wilmington |
Tomato 3/4 |
Paradise Now (2005) |
"Paradise catches and keeps your attention because of its daring subject, real-life backdrops and the intensity of its actors." |
Michael Wilmington |
Tomato 3.5/4 |
Paranoid Park (2008) |
"Van Sant has made his best film in many years. I didn't realize it until a second viewing. These things sometimes happen, especially if the first encounter was in the middle of a film festival." |
Michael Phillips |
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The Parent Trap (1998) |
Click here to see the review. |
Michael Wilmington |
Tomato 3/4 |
Paris (2009) |
"Writer-director Klapisch's glossy love letter to Paris, and its yearning, beautifully lighted inhabitants, may not be much, and you may not even believe in its emotional and (discreet) carnal complications moment to moment. But the cast is fabulous." |
Michael Phillips |
Tomato 3.5/4 |
Paris, Je T'aime (2007) |
"You couldn't call it perfect -- the episodes are uneven -- but it has something that sometimes is better than perfection: real love for its subject and themes." |
Michael Wilmington |
Splat 1.5/4 |
Party Monster (2003) |
"In the end you don't believe what you're watching, and you don't care." |
Mark Caro |
Tomato 4/4 |
The Passenger (1975) |
"It's a movie from the past that still points ahead to the future: a cinematic rite of passage that raptly recalls a time when the world may have been as uncertain as now, but the movies were often lovelier and more daring." |
Michael Wilmington |
Splat 2.5/4 |
The Passion of the Christ (2004) |
"In the end, one can respect Gibson's high intentions and dedicated work, while remaining spiritually and dramatically unmoved by the result." |
Michael Wilmington |
Tomato 3/4 |
Passionada (2003) |
"It's extremely likable and well done." |
Michael Wilmington |
Splat |
Patch Adams (1998) |
"Almost every scene triggers a sense of deja vu!" |
Mark Caro |
Splat 2/4 |
Pathfinder (2007) |
"Though you can't say Pathfinder doesn't deliver the goods, action-wise, the movie often has trouble sticking to its story between battles or involving us with its characters and its self-consciously mythic hero." |
Michael Wilmington |
Tomato 4/4 |
Paths of Glory (1957) |
"Both a terrifying, grim look at battle and an excruciatingly tense courtroom thriller. Together, it's a devastating indictment of war as conducted by opportunists and liars." |
Michael Wilmington |
Tomato |
The Patriot (2000) |
"The Patriot is a huge, bloody, 2-hour-and-40-minute battle epic, lavishly appointed and beautifully shot." |
Michael Wilmington |
Tomato 4/4 |
Patton (1970) |
"Scott strikes an unforgettable figure." |
Michael Wilmington |
Tomato 3/4 |
Pauline and Paulette (2002) |
"A moving tale of love and destruction in unexpected places, unexamined lives." |
Michael Wilmington |
Splat |
Pay It Forward (2000) |
"An example of how a movie can emotionally blackmail an audience." |
Mark Caro |
Splat |
Payback (1999) |
"A mind-mangling disappointment, with a dopey sell-out ending." |
Michael Wilmington |
Splat 2/4 |
Paycheck (2003) |
"Nothing in the movie is a surprise." |
Michael Wilmington |
Splat 1.5/4 |
Peaceful Warrior (2006) |
"Peaceful Warrior, which is basically The Karate Kid with a bigger kid and a bigger mentor, represents a journey of predictability, rather than a destination worth the trouble." |
Michael Phillips |
Splat 2.5/4 |
Pearl Harbor (2001) |
"Unfortunately, pasted around that stunning [action] sequence is a story so clogged with cliches of every description, so overblown, bombastic and agonizingly sentimental that it's hard to watch it with a straight face." |
Michael Wilmington |
Tomato 2.5/4 |
Penelope (2008) |
"Compared to Juno MacGuff, Penelope Wilhern is practically mute, but they're half-sisters under the skin." |
Michael Phillips |
Tomato 4/4 |
Pepe Le Moko (1937) |
"A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself." |
Michael Wilmington |
Tomato 3.5/4 |
The Perfect Crime (2005) |
"So much of El Crimen Perfecto sustains such a dazzlingly vital pitch it makes the typical American studio attempt at far-out black comedy look pretty far-in, and pretty pale." |
Michael Phillips |
Tomato 2.5/4 |
A Perfect Getaway (2009) |
"A Perfect Getaway is a little better -- well, a little stranger -- than most of the disposables this summer." |
Michael Phillips |
Splat 2/4 |
The Perfect Holiday (2007) |
"Queen Latifah and Terrence Howard act as commentators, nudging the contrivances this way and that." |
Michael Phillips |
Splat 2/4 |
The Perfect Man (2005) |
"We all realize two things: Noth is way too good for this stuff, and blogs are totally over." |
Allison Benedikt |
Tomato 3/4 |
The Perfect Score (2004) |
"Succeeds because at its core it is about the very different pressures very different young adults face, and the test that insists on judging them as one and the same." |
Allison Benedikt |
Tomato |
The Perfect Storm (2000) |
"This movie is capable of hitting you with gale force." |
Michael Wilmington |
Splat 2/4 |
Perfect Stranger (2007) |
"Fairly diverting until it starts becoming ridiculous." |
Michael Phillips |
Splat 2/4 |
Perfume: The Story of a Murderer (2006) |
"A film can reek equally of fine craftsmanship and piping-hot dung, and the proof's in Perfume: The Story of a Murderer." |
Michael Phillips |
Tomato 3.5/4 |
Persepolis (2007) |
"In spite of all the idealistic baggage, the film feels like it's traveling light. The fluid handmade visuals hang onto the uniqueness of Satrapi's heavy-lined work while giving them a smoothness and a visual depth they previously lacked." |
Tasha Robinson |
Splat 2.5/4 |
Personal Velocity (2002) |
"Taken individually or collectively, the stories never add up to as much as they promise." |
Mark Caro |
Tomato 3/4 |
Peter Pan (2003) |
"Works as mind-tickling entertainment that never stoops to the vulgarities or frenetic pacing of most family films." |
Mark Caro |
Tomato 3.5/4 |
La Petite Lili (2004) |
"Like the play, it's acutely perceptive, universally empathetic and humane." |
Michael Wilmington |
Tomato 3/4 |
Phone Booth (2003) |
"A lean, mean tension machine, setting up its premise, executing it with smarts, throwing in enough twists to keep things interesting, and wrapping it up before anyone can get fatigued or reflective." |
Mark Caro |
Tomato 2.5/4 |
The Photographer, His Wife, Her Lover (2006) |
"An essay on the difficulty of determining 'truth' and the ultimate unknowability of people." |
Alan G. Artner |