Tomato |
The Salon (2005) |
"Rare indeed, for women to talk back and take over the screen, and these sisters aren't putting up with any of it, from bourgie sellouts and the white girl thing, to decking a local pimp. Way to go, babee!" |
Prairie Miller |
Tomato |
Save the Last Dance (2001) |
"..less self-conscious and more willing to brave the stress and uncertainty of narrowing the racial divide in movies." |
Prairie Miller |
- |
The Score (2001) |
"The immensely charismatic and ballsy Norton and De Niro could have been playing scrabble the whole time, and it would still be nearly impossible to take your eyes off them." |
Prairie Miller |
- |
Scrap Heaven (2007) |
"The tense camerawork capturing the anxiety-ridden mood of the austere Tokyo cityscape is tightly textured, and truly deserved a more effective narrative." |
Prairie Miller |
Splat |
Scrap Heaven (2007) |
"The tense camerawork capturing the anxiety-ridden mood of the austere Tokyo cityscape is tightly textured, and truly deserved a more effective narrative." |
Prairie Miller |
Tomato |
Self-Medicated (2007) |
"Lapica has based the story on his own personal struggle to survive a troubled Vegas adolescence intact, and the skilled assurance and confidence of his first film imparts a seriousness and depth way beyond his years." |
Prairie Miller |
- |
Session 9 (2001) |
" Toying with the fright potential of an actual defunct and eerie woodland mental hospital, Session 9 is maybe a little Blair Witch Project, but mostly Boy, Interrupted." |
Prairie Miller |
Tomato |
Sexy Beast (2001) |
Click here to see the review. |
Prairie Miller |
Splat |
Shadow Company (2007) |
"This documentary touching on both the historical evolution and contemporary phenomenon of mercenaries feels uncomfortably like a promotional campaign for private security firms, as they're more euphemistically termed." |
Prairie Miller |
Splat |
Shadow Company (2007) |
"If the film is engaged in some sort of screen spin regarding the dubious history of mercenaries, or a whitewashing of their activity in Iraq, the ongoing deplorable destruction and death visited upon that nation, on the contrary, speaks for itself." |
Prairie Miller |
Tomato 9/10 |
Shadow of the Vampire (2000) |
"The actor (take your pick - Shreck or Dafoe) so utterly disappears into the role that depiction and delusion get seriously intertwined." |
Prairie Miller |
Tomato |
Shall We Dance? (2004) |
"Some moves in Shall We Dance require a leap of faith, but there's a really heartwarming love story in here somewhere. " |
Prairie Miller |
- |
She's Gotta Have It (1986) |
"Book Review of Esther Iverem's 'We Gotta Have It'" |
Kam Williams |
Tomato |
She's One of Us (2005) |
"This prim white collar serf implodes nearly wordlessly within, a brutal mechanical product of corporate conformity with about as much personality as a xerox machine." |
Prairie Miller |
Tomato |
Shifting Sands (1918) |
"Unique about Scott Ritter's insights, is that he is someone who has personally been involved in US aggression, both as a soldier and inspector, and for whom death and war are not simply abstractions." |
Prairie Miller |
- |
Shifting Sands (1918) |
"Scott Ritter Interview" |
Prairie Miller |
- |
Shoot 'Em Up (2007) |
"Shoot 'Em Up is simply wild fun and nothing more, though suspiciously intent on blowing away the whole kick butt genre with a wink, while taking down as many bad guys as possible in sight." |
Prairie Miller |
- |
Shoot 'Em Up (2007) |
"Insite Magazine: Clive Owen Interview" |
Prairie Miller |
- |
Showtime (2002) |
Click here to see the review. |
Prairie Miller |
- |
Sicko (2007) |
"Politics of Dissent Film Festival: The MPAA required that a quote by Moore be deleted from a poster because it urged "every American" to see it, even though it was an R-rated film." |
Prairie Miller |
- |
Sicko (2007) |
"What Moore uncovers, is a new Red Scare - orchestrated by the medical and pharmaceutical profiteers. That is, to debunk universal health care as a government threat to your freedom. Say, like public schools and municipal fire departments." |
Prairie Miller |
- |
Sidewalks of New York (2001) |
Click here to see the review. |
Prairie Miller |
Tomato |
Sideways (2004) |
"This bittersweet yarn about two LA bottom feeders who tackle personal issues, bottle by bottle, through wine country, renders their episodes of anguish intoxicating." |
Prairie Miller |
Tomato |
Sierra Leone's Refugee all Stars |
"There couldn't be a better example of the healing power of art right now than Sierra Leone's Refugee All Stars, six musicians who fled the horrific civil war, and spent years languishing in refugee camps where they all met and came together to make music." |
Prairie Miller |
Tomato |
Sierra Leone's Refugee all Stars |
"There couldn't be a better example of the healing power of art right now than Sierra Leone's Refugee All Stars, six musicians who fled the horrific civil war, and spent years languishing in refugee camps where they all met and came together to make music." |
Prairie Miller |
Splat |
Silk (2007) |
"In a film that just happens to be about the topic of fabric, Silk like a mannequin draped in an elegant costume, is all shimmering surface and hollow core." |
Prairie Miller |
- |
Skins (2002) |
"Chris Eyre Interview" |
Prairie Miller |
- |
Smoke Signals (1998) |
"The first feature film written and directed by Native Americans, Smoke Signals is a magical and brooding tale about issues of home and fatherhood." |
Prairie Miller |
Tomato |
Snow Cake (2007) |
"Autism as troubled but magically experienced world." |
Prairie Miller |
Tomato |
Someone Like You (2001) |
"The movie works best on a conversational level, with some inventive, tenderly conceived and clever dialogue" |
Prairie Miller |
Tomato |
Something's Gotta Give (2003) |
"Gender avenger director Meyers's good natured target practice on a 60-ish Don Juan chasing tender-age babes." |
Prairie Miller |
Tomato |
Songcatcher (2001) |
"The purely wrought mountain music, as yet untouched by corrupt urban commercialism, in effect draws the characters together beyond what alienates them." |
Prairie Miller |
Splat |
Sorry, Haters (2006) |
"A product of a younger, confused generation raised on a junk diet of corporate media propaganda and tabloid news substituting hip for history, it's distanced from any candid self-reflection, while demonizing women as the main source of global distress." |
Prairie Miller |
Tomato |
Spartan (2004) |
"This political thriller is very much by its own definition, the tightly woven, creatively disciplined offspring of that old warrior spirit that is Mamet." |
Prairie Miller |
Splat |
Spy Game (2001) |
Click here to see the review. |
Prairie Miller |
- |
Spy Kids (2001) |
"Right now, if you took the nonviolent offenders out of prison in California, you would hurt the economy of California. So that's what it's all about." |
Prairie Miller |
Splat |
Stage Beauty (2004) |
"An odd, stilted production that is nearly too contemporary in
its flippant sentiments for its own good.
" |
Prairie Miller |
- |
Stardust (2004) |
"Insite Magazine: Sienna Miller Interview" |
Prairie Miller |
- |
Stardust (2004) |
"There's not a moment in this Neil Gaiman fantasy that isn't dipped in visually enchanting splendor." |
Prairie Miller |
Tomato |
Steel City (2006) |
"Soulfully in tune with the bruised blue collar lives of a Southern Illinois town where fractured existence and dead end futures conspire against the humanity of its characters." |
Prairie Miller |
Tomato |
Steel City (2006) |
"Soulfully in tune with the bruised blue collar lives of a Southern Illinois town where fractured existence and dead end futures conspire against the humanity of its characters." |
Prairie Miller |
Tomato |
A Stolen Life (2006) |
"What might be termed the new 'market economy cinema' in China, is teeming with at least a subconsciously processed observation and awareness of how human relations have been acutely affected by this Western economic incursion." |
Prairie Miller |
Tomato |
Strange Culture (2007) |
"A timely wakeup call - Kurtz's own '5/11' as he terms his personal nightmare - to remind us just how dangerous and threatening the terrorism of the US government is right now, towards its own people." |
Prairie Miller |
- |
Strange Culture (2007) |
"A tightly woven mix of dramatic reenactments and truth is stranger than fiction documentary, with the product of this fusion a kind of strange science fiction pertinent to these repressive times." |
Prairie Miller |
Tomato |
Strange Fruit (2005) |
"Provocatively enlightens us on the fascinating origins and social convulsions created by the song Strange Fruit, and its profound connection to the progressive movements of the last century." |
Prairie Miller |
Splat |
Strike (2007) |
"The only genuine moment in Strike, is when a skeptical worker asks the protesters, is your solution to let the West march in? The filmmaker, regrettably, never has the courage to respond." |
Prairie Miller |
- |
Strike (2007) |
"Volker Schlondorff Interview" |
Prairie Miller |
Splat |
Suddenly (2003) |
" Crisply shot in gritty black and white, Suddenly's forceful visual style just doesn't compensate for its hollow psychological core." |
Prairie Miller |
- |
Summer '04 (2006) |
"More in the nature of audience eavesdropping on some scandalous neighbors than gripping or meaningful storytelling, the film is wracked with superficial, amoral characters and petty, hand wringing sordid emotional preoccupations and obsessions." |
Prairie Miller |
- |
Sunflower (2005) |
"Potentially striking moments of ideological consciousness, passion, and emotional truth too often defer to the melodramatic and mundane." |
Prairie Miller |
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