Tomato |
Caché (2005) |
"To some degree, Hidden is a cat-and-mouse thriller, the only problem being that mouse and cat insist on swapping roles." |
Anthony Lane |
Tomato |
California Dreamin' (2009) |
"It could use a trim, but only rarely does it strain for effect, and, for a young man, Nemescu was uncannily versed in the emotions of middle age." |
Anthony Lane |
Splat |
Capitalism: A Love Story (2009) |
"Michael Moore’s Capitalism: A Love Story is something else -- not a good movie or a coherent exposition of the meltdown but an emotional attack on capitalism as a system, an attempt, literally, to de-moralize capitalism." |
David Denby |
Tomato |
Capote (2005) |
"Small-scaled and limited, Capote is nevertheless the most intelligent, detailed, and absorbing film ever made about a writer’s working method and character -- in this case, a mixed quiver of strength, guile, malice, and mendacity." |
David Denby |
Splat |
Cars (2006) |
"Along came the interstate, apparently, and ruined everything. Just like that darned Internet, I guess, or that superhighway stuff, or those dumb movies they make with computers nowadays." |
Anthony Lane |
Splat |
Casanova (2005) |
"I admit that the picture is handsomely designed in gold and pale blue, but none of the tumult and pomp have any dramatic, comic, or erotic effect whatsoever." |
David Denby |
Tomato |
Casino Royale (2006) |
"Casino Royale, though half an hour too long, is the first semi-serious stab at Fleming, and at the treacherous terrain that he marked out, since On Her Majesty’s Secret Service, in 1969." |
Anthony Lane |
Tomato |
Cassandra's Dream (2008) |
"[Farrell] has done his best work with this performance, and he may have a triumphant career before him as a character actor in difficult roles." |
David Denby |
Splat |
Changeling (2008) |
"Changeling is beautifully wrought, but it has the abiding fault of righteously indignant filmmaking." |
David Denby |
Splat |
Charlie and the Chocolate Factory (2005) |
"You can’t help feeling that a fantasist as accomplished as Burton can manage this kind of project with his eyes shut. The trouble is that, from film to film, his dreams are starting to look the same." |
Anthony Lane |
Tomato |
Charlie Wilson's War (2007) |
"The film, adapted from George Crile’s book, doesn’t always work, but it sure offers value for money." |
Anthony Lane |
Splat |
Che (2008) |
"For all the movie’s narrative momentum, Che retains the air of a study exercise -- of an interest brilliantly explored. How else to explain one’s total flatness of feeling at the climax of each movie?" |
Anthony Lane |
Tomato |
Cherry Blossoms (2009) |
"The movie’s conceits are just barely endurable, but the sharpness of Dörrie’s eye -- for Tokyo’s electric night, for Fuji’s iconographic landscapes, for cherry blossoms -- sustains emotion even when story logic fails." |
David Denby |
Tomato |
Children of Men (2006) |
"Even if you don’t buy the main conceit, the scumbled texture of the movie makes it feel not just plausible but recognizable, and Cuarón takes care never to paint the future as consolingly different." |
Anthony Lane |
Tomato |
A Christmas Tale (2008) |
"Watching A Christmas Tale is like getting to know a family other than your own by leafing through its scrapbooks and laughing at its photograph albums, while it bickers in the next room over stuff you may never understand." |
Anthony Lane |
Splat |
The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe (2005) |
"Even the climactic fight between Peter’s army of truth and the Witch’s bevy of demons has an air of heraldic artifice, as if we were witnessing not a brawl to the death, red in tooth and claw, but an enamelled clash of ideas." |
Anthony Lane |
Tomato |
Cinderella Man (2005) |
"A godsend to anybody who yearns for cinema to be a bringer of good tidings." |
Anthony Lane |
Tomato |
The Class (2008) |
"The Class is a prime document of French post-colonial blues, though its relevance to American urban education could not be any greater if it had been made in the Bronx or Trenton or South Los Angeles." |
David Denby |
Splat |
The Clearing (2004) |
"A thriller stripped of thrills -- or, even worse, a thriller that thinks of itself as somehow rising above the vulgar pleasures of excitement." |
Anthony Lane |
Splat |
Closer (2004) |
"Owen alone, in Closer, rises to the challenge." |
Anthony Lane |
Splat |
Cloverfield (2008) |
"Under the modern flummery, behind the faux amateurism and the handheld shudder, Cloverfield is a vastly old-fashioned piece of work, creaking with hilarious contrivance." |
Anthony Lane |
Splat |
Coco Before Chanel (2009) |
"I missed the desperation that goaded the real Coco—not just the sulks that pass like rain showers across Tautou’s prettiness but that brisk contempt for existing conditions which led Chanel, like any French revolutionary, to overturn them." |
Anthony Lane |
Tomato |
Cold Souls (2009) |
"This is a comedy, not a philosophy lesson, and thus richer in bafflement than in understanding." |
Anthony Lane |
Tomato |
Collateral (2004) |
"Mann has become a master builder of sequences, the opposite of the contemporary action directors who produce a brutally meaningless whirl of movement." |
David Denby |
Tomato |
The Constant Gardener (2005) |
"The fact that none of the above is satisfactorily answered, and that we nevertheless emerge from the movie feeling nourished and stirred, is a tribute to Meirelles and, of course, to le Carré." |
Anthony Lane |
Splat |
Constantine (2005) |
"Maybe some of the audience should wonder if they aren’t performing the Devil’s work by sitting so quietly through movies that turn wonders into garbage." |
David Denby |
Tomato |
Control (2007) |
"Control” has an unmistakable pulse: a wiry, electric tension between the extraordinary spectacle of Curtis at maximum surge and the dented ordinariness of which his undear life, like ours, was mostly composed." |
Anthony Lane |
Splat |
Control Room (2004) |
"Given that most Americans know the network only by reputation, or via Donald Rumsfeld’s public denunciations of it, a little more objective information would not have gone amiss." |
Anthony Lane |
Splat |
Conversation(s) with Other Women (2006) |
"It may be dotted with fine observations, yet somehow the charm of its novelty grows stale, and the airless feeling of a closed set begins to fester." |
Anthony Lane |
- |
The Cooler (2003) |
Click here to see the review. |
David Denby |
Tomato |
Coraline (2009) |
"A gift to imagination." |
David Denby |
Tomato |
Crash (2005) |
"Crash is hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it’s easily the strongest American film since Clint Eastwood’s Mystic River, though it is not for the fainthearted." |
David Denby |
Tomato |
Crazy Heart (2009) |
"If ever a movie demonstrated how country music emerges from private sorrows, this is it. But something can always be done to make a movie better." |
David Denby |
Tomato |
Crazy Love (2007) |
"The fascinating documentary Crazy Love is a real-world story in which possessiveness, stupidity, loyalty, and need are joined together in bewildering combinations." |
David Denby |
Tomato |
Crimson Gold (2004) |
"Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet." |
Anthony Lane |
Tomato |
The Cult of the Suicide Bomber (2006) |
"Many of us, of course, have spent hours at the movies relishing violence and explosions as entertainment. In the documentary The Cult of the Suicide Bomber, we see explosions in which real people die, and the sequence comes as a kick in the gut." |
David Denby |
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