Tomato |
The Machinist (2004) |
"There's no avoiding getting overwhelmingly hooked on this character, and ready to follow him into whatever nightmare realm." |
Prairie Miller |
- |
Made (2001) |
Click here to see the review. |
Prairie Miller |
- |
Maid in Manhattan (2002) |
"Clothing is a side dish to the main Hollywood fantasy menu of the film but it sets a darker tone to the fluff of the story." |
Prairie Miller |
Tomato |
The Majestic (2001) |
"An escapist yarn anti-escapist in subtext, it posits a subversive movie fantasy: dissidence as heroic, even patriotic in search of an ideal, less small minded country." |
Prairie Miller |
- |
The Man Who Cried (2001) |
"...a female filmmaker's take on how men and women are differently affected by critical historical moments." |
Prairie Miller |
- |
The Man Who Lost His Shadow (1991) |
"ALAIN TANNER INTERVIEW: A filmmaker accused of 'leftist romanticism.' Tanner told me, 'We have lost any kind of scope, we produce things without knowing why for no evident reason, and it's like losing one's shadow. But..I give each character his chance.'" |
Prairie Miller |
Tomato |
The Man Who Lost His Shadow (1991) |
"The Man Who Lost His Shadow is about where humanity has found itself at the crossroads of two troubled centuries." |
Prairie Miller |
Tomato |
The Man Who Wasn't There (2001) |
"Both mesmerizing and elusive." |
Prairie Miller |
Tomato |
Manda Bala (2007) |
"Manda Bala effectively captures the enormous class divide in Third World Brazil, and the unarticulated simmering class tensions that the oblivious upper classes seem to take pains in denying." |
Prairie Miller |
Splat |
Manufactured Landscapes (2007) |
"There's a huge difference between conveying the numbing, dehumanizing and mindlessly repetitive nature of factory drudgery in a movie, and subjecting your audience to the same by involving them visually in that unbearable tedium." |
Prairie Miller |
Splat |
Manufactured Landscapes (2007) |
"There's a huge difference between conveying the numbing, dehumanizing and mindlessly repetitive nature of factory drudgery in a movie, and subjecting your audience to the same by involving them visually in that unbearable tedium." |
Prairie Miller |
- |
Mardi Gras: Made in China (2005) |
"Global capitalism chain reaction." |
Prairie Miller |
Splat |
Marie Antoinette (2005) |
"History as a guilt free pleasure." |
Prairie Miller |
Splat |
Marie Antoinette (2006) |
"History as a guilt free pleasure." |
Prairie Miller |
Splat |
Maryam (2002) |
"Less about racial profiling than racial self-hatred, Maryam is all shallow afterschool special with a loathsome anti-foreign core." |
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 |
- |
Me, You, Them (2001) |
"Regina had the perfect face for this film. She is a laborer, so she needed to have reality on her face, not the usual Hollywood beauty." |
Prairie Miller |
- |
Meeting Resistance (2007) |
"Daytonpundit.com: A daring documentary and firsthand eyewitness account by fearless filmmakers embedded with the Iraqi Resistance, that deconstructs the government approved pro-war propaganda of the nightly news." |
Prairie Miller |
- |
Meeting Resistance (2007) |
"Sometimes a film serves as a potent weapon of truth, dispelling official lies and giving voice to those whose collective pain has been silenced. Meeting Resistance is that film and more, an act of resistance in its own right to the US war on Iraq." |
Prairie Miller |
- |
Michael Clayton (2007) |
"Aside from a far too brief and rapid finale that seems to tie up all the loose ends on fast forward, Michael Clayton makes its case as a solid, if at times sluggish legal thriller." |
Prairie Miller |
Tomato |
Miel Para Oshun (2003) |
"A creative obsession about moral necessity, and a metaphor about identity and the discovery of national identity in everyday Cuban lives." |
Prairie Miller |
- |
A Mighty Heart (2007) |
"More small screen infotainment than big screen docudrama" |
Prairie Miller |
Tomato |
Misc: Sundance Film Festival |
"Banished: How Whites Drove Blacks Out Of Town In America" |
Prairie Miller |
- |
Misc: Sundance Film Festival |
"Queen Latifah A Potent Force In Life Support" |
Prairie Miller |
Tomato |
Miss Potter (2006) |
"Evokes the emerging Victorian era bourgeois female imagination amid crushing containment and defiant awakening." |
Prairie Miller |
Tomato |
Miss Potter (2006) |
"Evokes the emerging Victorian era bourgeois female imagination amid crushing containment and defiant awakening." |
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 |
- |
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 |
Le Monde Vivant (2003) |
"Delwende: Filmu Osobnosti Hledani" |
Prairie Miller |
Tomato |
Monster (2003) |
"Makes you just want to back away for safety, but also cuts right through your heart for this long wounded creature." |
Prairie Miller |
Tomato |
Monster (2003) |
"Makes you just want to back away for safety, but also cuts right through your heart for this long wounded creature." |
Prairie Miller |
Tomato |
Monster's Ball (2001) |
"It speaks to the complexities of the perpetually estranged divide that complicate interracial connections within the heart of darkness of the US mindscape." |
Prairie Miller |
- |
Mr. Bean's Holiday (2007) |
"Rowan Atkinson Interview" |
Prairie Miller |
- |
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 |
- |
Mrs. Brown (1997) |
"Dench effortlessly conveys the Queen's transformation from grieving widow to a vibrant, emotionally liberated woman and possibly the first feminist, under the influence of a Scottish commoner, Mrs. Brown." |
Prairie Miller |
- |
Mulholland Dr. (2001) |
"Lynchnet: The David Lynch Interview" |
Prairie Miller |
- |
Mulholland Dr. (2001) |
"Lynch's Hollywood is so fixated on fantasy and the onscreen pursuit of multiple identities that it may itself be engulfed by that determined break with reality." |
Prairie Miller |
- |
Mulholland Dr. (2001) |
"Euweb Magazine: David Lynch Interview" |
Prairie Miller |
Tomato |
My Best Friend (2007) |
"Ultimately, Leconte as a storyteller seems as lost and perplexed in his search for the existence and essence of true friendship in a formidably overwhelming commercially permeated and dominated world, as his unfortunate protagonist Francois." |
Prairie Miller |
Tomato |
My First Mister (2001) |
Click here to see the review. |
Prairie Miller |
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