Tomato |
L'Age D'Or (1930) |
"L’Age d’Or still resonates as a recipe for cultural revolution." |
Ed Gonzalez |
Tomato 4/4 |
L'Age D'Or (1930) |
"L'Age d'Or: Where thwarted love must transcend itself in order to win its war against oppression." |
Ed Gonzalez |
Tomato 2.5/4 |
L'Amour Fou (1968) |
"L'Amour Fou is a transitional work for Jacques Rivette, the bridge to the superb Out 1 and its equally masterful re-edit Spectre." |
Keith Uhlich |
Tomato 4/4 |
L'Argent (1983) |
"It's mind-blowing.
" |
Eric Henderson |
Tomato |
L'Argent (1983) |
"A parable that demonstrates that morals are inadequate, L'Argent is required viewing." |
Eric Henderson |
Tomato |
L'Atalante (1934) |
"The naturalistic sexuality of Vigo’s only feature film is even still ahead of its time." |
Eric Henderson |
Tomato |
L'Atalante (1934) |
"Stands as one of the most beautiful and rich celebrations of human connection in the history of cinema." |
Eric Henderson |
Tomato 4/4 |
L'Avventura (1960) |
"Characters root themselves separately in background and foreground planes, their emotional distance rendered via the director's unnerving use of deep focus." |
Ed Gonzalez |
Tomato 4/4 |
L'Enfant (2006) |
"A miracle." |
Ed Gonzalez |
Tomato |
L'Enfant (2006) |
"Give a chance to L'Enfant, because more so than any film released this year in the United States, it deserves it." |
Ed Gonzalez |
Tomato 3.5/4 |
L'Iceberg (2005) |
"Physical comedy in cinema so rarely rises above a kind of kick-the-cajones mediocrity, so Iceberg is a more than welcome breath of fresh air." |
Keith Uhlich |
Tomato 3/4 |
L'Innocente (1979) |
"Coming after the dissolute wackiness of Ludwig and the cavorting valedictory of Conversation Piece, Luchino Visconti's swan song L'Innocente is something of a genteel and stately affair." |
Fernando F. Croce |
Splat |
L'Innocente (1979) |
"An adagio finale for a fortissimo career." |
Fernando F. Croce |
Tomato |
L.A. Confidential (1997) |
"Curtis Hanson's best movie may not be the American masterpiece many think, but it remains one of the best neo-noirs of the '90s and a fine example of classical Hollywood storytelling." |
Matt Noller |
Tomato 3/4 |
L.A. Confidential (1997) |
"L.A. Confidential understands that men don't always respond to evil with good and that the question of whom society regards as heroes isn't always a clear cut as it seems." |
Matt Noller |
Splat 1.5/4 |
L.I.E. (2001) |
"Prepubescent homoeroticism and loveable pederasty highlight this preposterous and pointless provocation." |
Ed Gonzalez |
Tomato |
La Bandera (1935) |
"Was Julien Duvivier an auteur (like his countryman Jean Renoir), a skilled craftsman (like Michael Curtiz) or a pure hack (like, say, Ray Enright)?" |
Dan Callahan |
Tomato 2.5/4 |
La Belle Noiseuse (1991) |
"Jacques Rivette's much praised Cannes Grand Prize winner vacillates between genuine insight and didactic mystique-of-the-artist bull****." |
Keith Uhlich |
Tomato |
La Commune (2000) |
"Regardless of whether you think Watkins is one of the only committed cinematic activists or that he's a smart but completely inaccessible conspiracy-theorist relic of the '60s, there's little doubting that La Commune is a grand summation of his sen" |
Eric Henderson |
Tomato 3.5/4 |
La Commune (2000) |
"Peter Watkins's La Commune (Paris, 1871) is a marginalized, disjointed, whirling dervish of utopian ideas and devil-may-care indulgence, as was its subject matter." |
Eric Henderson |
Tomato 3/4 |
La Danse: The Paris Opera Ballet (2009) |
"Wiseman is principally concerned with process here, the process of art's creation and, to a lesser degree, the process of an institution's functioning." |
Andrew Schenker |
Tomato 3/4 |
La France (2007) |
Click here to see the review. |
|
Tomato 3/4 |
La France (2007) |
"Gender and genre are continuously bent in La France, Serge Bozon's uniquely weird and often starkly beautiful experiment." |
Fernando F. Croce |
Tomato |
La Jetée (1962) |
"Criterion has entered the zone. But here's to hoping they can expand through time and space to bring some of Marker's less famed works to Region 1." |
Eric Henderson |
Tomato 2.5/4 |
La Leon (2008) |
"Paced with a steady ebb and flow of tidal-like transitions, Santiago Otheguy's impressive debut feature juxtaposes images of natural order with human acts of destruction." |
Rob Humanick |
Splat 1.5/4 |
La Mentale: The Code (2004) |
"Not only is The Code visually unexciting, it doesn’t seem to have a discernable point beyond trying to set up an elaborate shoot-out." |
Ed Gonzalez |
Tomato 2.5/4 |
La Moustache (2005) |
"The film is an unpretentious blank slate--almost totally without point but so unassuming it earns consideration." |
Ed Gonzalez |
Tomato |
La Prise De Pouvoir Par Louis XIV (1966) |
"You can almost smell the powdered wigs in Rossellini's study of a dandified abyss." |
Fernando F. Croce |
Tomato 4/4 |
La Prise De Pouvoir Par Louis XIV (1966) |
"Despite accusations of academic dryness, Louis XIV can be an almost overwhelmingly physical picture." |
Fernando F. Croce |
Tomato |
La Ronde (1950) |
"A somewhat disappointing package of a truly lovely film." |
Dan Callahan |
Tomato 3.5/4 |
La Ronde (1950) |
"Each vignette conforms to a tight, outgrowing pattern, so that they each have equal weight, even if Danielle Darrieux's first segment is the one that lingers in the mind." |
Dan Callahan |
Splat 2.5/4 |
La Tropical (2006) |
"La Tropical may be the first documentary about Cuba to seriously address the island republic's complex, lingering racial problems." |
Ed Gonzalez |
Tomato 3.5/4 |
La Vie En Rose (2007) |
"Edith Piaf's tidal emotional vulgarity and brutish commitment to the most sentimental chansons is captured accurately and even irresistibly in La Vie En Rose." |
Dan Callahan |
Splat 2/4 |
La Zona (2007) |
"If the insult of La Zona is not as significant as Paul Haggis's Crash, that's because director Rodrigo Plá doesn't trivialize a society's racial dynamics, only its class relations." |
Ed Gonzalez |
Splat .5/4 |
Labor Day (2009) |
"A promotional film best suited for broadcast in an office lobby." |
Nick Schager |
Tomato |
Labyrinth (1986) |
"The Collector’s Edition appears to be basically a replay of the Superbit release, but this is still a nice improvement over the first edition of the film." |
Eric Henderson |
Tomato |
Labyrinth (1986) |
"The MPAA was more lenient during the 80s, but that’s still no explanation for how David Bowie’s crotch-hugging Labyrinth pants made it into a PG-rated children’s fable." |
Nick Schager |
Splat 2/4 |
Labyrinth (1986) |
"For all its visual inventiveness, there’s something inert about the late Jim Henson’s 1986 fantasy adventure Labyrinth." |
Nick Schager |
Tomato |
Ladder 49 (2004) |
"It’s a darn shame this Ladder 49 DVD didn’t come with a copy of Enya’s Memory of the Trees and a box of Lucky Charms." |
Ed Gonzalez |
Splat 1.5/4 |
Ladder 49 (2004) |
"As for the soulless fire sequences, they’re so big and suspenseful you half expect to see Celine Dion standing on top of a building wailing “My Heart Will Go On.”" |
Ed Gonzalez |
Tomato 2.5/4 |
Ladies in Lavender (2005) |
"At the very least, it’s more sensitive than more Lucky Charmed productions of its kind like Waking Ned Devine and Calendar Girls" |
Ed Gonzalez |
Tomato 4/4 |
The Ladies Man (1961) |
"A bizarre, sexually ambiguous, cantankerously skeptical burlesque on the ascent of feminine independence." |
Eric Henderson |
Tomato 3/4 |
The Lady and the Duke (2002) |
"The Lady and the Duke is Eric Rohmer's economical antidote to the bloated costume drama" |
Ed Gonzalez |
Tomato |
Lady and the Tramp (1955) |
"Walt Doggy Dogg's canine love story came to the movie screens (and now your home theater) fixed, although you'll probably still get heartworm." |
Eric Henderson |
Splat 2/4 |
Lady and the Tramp (1955) |
"Parents used to having their kids explain films to them will have their hands full on this one." |
Eric Henderson |
Splat 1/4 |
Lady Chatterley (2006) |
"A turgid, droopy bore." |
Jason Clark |
Tomato 3/4 |
Lady in the Water (2006) |
"A gaping psychic wound, a blood-spattered, pulsating tumor ripped violently from both its creator's head and, more fascinatingly, his heart, then planted onscreen, raw and unfettered, for all to come and see." |
Keith Uhlich |
Splat |
Lady Sings the Blues (1972) |
"As tacky as it is compulsively divalicious, Lady Sings the Blues whitewashes a major talent in service of a moderate one." |
Eric Henderson |
Splat 2/4 |
Lady Sings the Blues (1972) |
"Berry Gordy's gift to Diana Ross was this lavish, bloated Billie Holiday biopic." |
Eric Henderson |
Tomato |
The Lady Vanishes (1938) |
"Hitchcock and film lovers alike should not pass up this worthy copy of one of the director's British-made masterworks." |
Arthur Ryel-Lindsey |
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