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 4/4 |
A.I. Artificial Intelligence (2001) |
"My first impression of the ending was that it was too sentimental, yet upon another viewing, I had a completely different reaction--utter appreciation of a work of beauty." |
Mark Dujsik |
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 1/4 |
The Abandoned (2007) |
"As the heroine wanders around her old, rundown childhood home, the movie itself wanders, trying to find its purpose, meaning, and even, it seems, a worthwhile starting point." |
Mark Dujsik |
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3.5/4 |
About a Boy (2002) |
"Contains a generous amount of humor, but it all stems from the film’s characters and the truth of its scenario and execution." |
Mark Dujsik |
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3.5/4 |
About Schmidt (2002) |
"Humorous and, at the same time, incredibly sad because we see a bit -- or maybe even a lot -- of [Schmidt] in ourselves." |
Mark Dujsik |
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1/4 |
Across the Universe (2007) |
"A monumental miscalculation of a musical." |
Mark Dujsik |
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1.5/4 |
Adam Sandler's Eight Crazy Nights (2002) |
"It’s definitely not made for kids or their parents, for that matter, and I think even fans of Sandler’s comic taste may find it uninteresting." |
Mark Dujsik |
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3/4 |
Adaptation (2002) |
"Part of me wants to acknowledge that Kaufman’s script is inherently lazy, but then I think... it’s more or less the work of a genius." |
Mark Dujsik |
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1.5/4 |
After the Sunset (2004) |
"All polish trying to cover up an unsanded surface." |
Mark Dujsik |
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2/4 |
Agent Cody Banks (2003) |
"Fairly typical and overly gadget-oriented spy business." |
Mark Dujsik |
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1.5/4 |
Alex and Emma (2003) |
"I don’t care. Why should I care?" |
Mark Dujsik |
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1/4 |
Alexander (2004) |
"Makes you wonder where [Alexander] found the time, what with all the moments of self-doubt and blubbering—oh, the endless blubbering." |
Mark Dujsik |
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2.5/4 |
Ali (2001) |
"There’s great material here, but the end result plays like a highlight reel--an intriguing introduction to a man’s life for people not fully acquainted with it." |
Mark Dujsik |
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0/4 |
Aliens Vs. Predator: Requiem (2007) |
"Not so much a movie as much as it is a series of blurs and shapes moving quickly across a screen." |
Mark Dujsik |
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3/4 |
All or Nothing (2002) |
"There’s an extended scene (the film’s penultimate one) in the family’s apartment with a level of verisimilitude that I doubt I’ll ever forget." |
Mark Dujsik |
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2/4 |
Along Came a Spider (2001) |
"Gives Morgan Freeman a chance to once and for all prove that he could walk through a garbage heap and convince you it smells nice." |
Mark Dujsik |
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2.5/4 |
Alpha Dog (2007) |
"Cassavetes' script buries a lot of character and thematic ambitions in the facts of the case." |
Mark Dujsik |
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1/4 |
Alvin and the Chipmunks (2007) |
"Soul-numbing." |
Mark Dujsik |
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3.5/4 |
Amelie (2001) |
"A joyous and visually inspired work filled with as much imagination as the title character’s world allows--which just so happens to be a lot." |
Mark Dujsik |
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2/4 |
America's Sweethearts (2001) |
"There have been a lot of movies about how fake Hollywood is, but this is the fake Hollywood movie about how fake Hollywood is." |
Mark Dujsik |
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3/4 |
American Gangster (2007) |
"A finely weaved tapestry of absolute corruption and its effects on the key players and those unlucky souls caught in the crossfire." |
Mark Dujsik |
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1.5/4 |
American Outlaws (2001) |
"At its best, American Outlaws is absurd; at its worst, it’s tedious and laughable." |
Mark Dujsik |
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3/4 |
American Pie 2 (2001) |
"The gags are rude and crude, but they never bail out in fear of offending, and frankly, it’s funny." |
Mark Dujsik |
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2.5/4 |
American Wedding (2003) |
"We may be saying goodbye to these likable dopes, but we also can't help but think that they deserve a better send off." |
Mark Dujsik |
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3/4 |
Amores Perros (2001) |
"Even with its flaws, it will be hard to find a film with as many complex characters inhabiting its world as this." |
Mark Dujsik |
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1.5/4 |
Analyze That (2002) |
"The first film focused on the relationship between Vitti and Sobel and pulled its humor primarily from it. This one is all over the place." |
Mark Dujsik |
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2/4 |
Andrew Lloyd Webber's The Phantom of the Opera (2004) |
"Welcome to the world of Andrew Lloyd Webber, where an entire libretto is derived from variations on five songs." |
Mark Dujsik |
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2/4 |
Anger Management (2003) |
"The comedy shifts focus from the character mismatch to Sandler alone, and the movie itself transforms into a typical Sandler comedy, complete with random jokes and mushy, false sentimentality." |
Mark Dujsik |
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2.5/4 |
Annapolis (2006) |
"Less inspired by recruitment videos than it is by Rocky." |
Mark Dujsik |
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1.5/4 |
Antitrust (2001) |
"The climax actually pits Milo against Winston in a typing contest. If that sounds thrilling, this may be the movie you’ve been waiting for." |
Mark Dujsik |
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3/4 |
Antwone Fisher (2002) |
"Is Antwone Fisher’s story inspirational? Yes. Does he need to repeatedly tell us just how inspirational it is? No, but he does anyway. That’s what keeps the film from standing tall." |
Mark Dujsik |
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1/4 |
Aqua Teen Hunger Force Colon Movie Film For Theatres (2007) |
"I like "Aqua Teen Hunger Force" as it's meant to be taken: in small, under-15-minute spurts." |
Mark Dujsik |
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2/4 |
Arthur and the Invisibles (2007) |
"A movie with imaginative elements but little imagination." |
Mark Dujsik |
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2/4 |
The Assassination of Jesse James by the Coward Robert Ford (2007) |
"I love the tone writer/director Andrew Dominik establishes in the film; it's the dragging-it-out-to-160-minutes part that gets me down." |
Mark Dujsik |
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3/4 |
Assault on Precinct 13 (2005) |
"There's a sense that almost anything could happen." |
Mark Dujsik |
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3.5/4 |
The Astronaut Farmer (2007) |
"Sure, characters spout inspirational lines left and right, but its warm, cozy, and sometimes renegade vibe is utterly contagious." |
Mark Dujsik |
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2.5/4 |
Atonement (2007) |
"I'm sure it works on the page, but on screen, it gets clunky, especially in the epilogue, which hardly packs the intended emotional punch as a result." |
Mark Dujsik |
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1.5/4 |
August Rush (2007) |
"Saying August Rush is contrived is like saying that, in terms of continents, Asia is pretty big." |
Mark Dujsik |
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2.5/4 |
Austin Powers in Goldmember (2002) |
"There’s a lot of good material here, but there’s also a lot of redundancy and unsuccessful crudeness accompanying it." |
Mark Dujsik |
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4/4 |
The Aviator (2004) |
"In the hands of Martin Scorsese, the story of Howard Hughes becomes a great American tragedy." |
Mark Dujsik |
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