Splat 1.5/4 |
Mad Money (2008) |
"That the movie can't decide if it wants them to get away with it is even more irritating, but that's probably because I didn't care either way." |
Mark Dujsik |
Tomato 3/4 |
The Magdalene Sisters (2003) |
"First and foremost, The Magdalene Sisters is an important film, a brutal, unwavering exposé on a deplorable crime against women perpetrated by the Irish Catholic Church that went unchecked and unquestioned until 1996." |
Mark Dujsik |
Tomato 3.5/4 |
The Majestic (2001) |
"It’s sincere about and with its intentions. This is a movie that comes from years of watching movies--made by movie-lovers for movie-lovers." |
Mark Dujsik |
Tomato 3.5/4 |
The Man Who Wasn't There (2001) |
"A quirky, existentialist neo-noir which starts in the direction of a thriller but turns the tables on its setup and heads off into completely unexpected territory." |
Mark Dujsik |
Tomato 4/4 |
Master and Commander: The Far Side of the World (2003) |
"A grand, intimate epic of warfare at sea." |
Mark Dujsik |
Splat 2.5/4 |
The Matador (2005) |
"A breezy entertainment -- perhaps too much so." |
Mark Dujsik |
Tomato 3.5/4 |
Matchstick Men (2003) |
"Awkward as it may be, Matchstick Men's conclusion is a comparatively small sin attached to an otherwise superlative character study and comedy of deceit." |
Mark Dujsik |
Tomato 3/4 |
The Matrix Reloaded (2003) |
"If there's one thing The Matrix Reloaded fortifies, it's that the Wachowski brothers are born filmmakers through and through." |
Mark Dujsik |
Splat 1.5/4 |
The Matrix Revolutions (2003) |
"Thus ends the Matrix trilogy, not even with the dignity of a whimper but with the timid finality of a dull thud." |
Mark Dujsik |
Tomato 3.5/4 |
Max (2002) |
"An intelligent and utterly compelling hypothetical question in which scholarly musings and dramatic irony come together to create a powerful, thought-provoking experience." |
Mark Dujsik |
Tomato 3.5/4 |
Me and Orson Welles (2009) |
"The Welles material is key, but the script also understands the world of a theatrical production, fleshing out all the backstage drama that inhabits it." |
Mark Dujsik |
Splat 1.5/4 |
The Medallion (2003) |
"The lesson to learn from The Medallion is that a wire- and computer-assisted Jackie Chan is better than no Jackie Chan but still a bad idea nonetheless." |
Mark Dujsik |
Tomato 3/4 |
Meet the Fockers (2004) |
"Does little to alter the formula of the original, but the two films set a nice example of successful use of the concept of theme and variation." |
Mark Dujsik |
Tomato 3/4 |
Meet the Robinsons (2007) |
"The film is less a kiddie adventure in a futuristic world than it is an absurdist comedy that looks like a kiddie adventure." |
Mark Dujsik |
Tomato 4/4 |
Memento (2001) |
"A completely engrossing experience that demands and deserves multiple viewings." |
Mark Dujsik |
Splat 1.5/4 |
Men in Black II (2002) |
"A cynicism-generator. Suggests a big-budget scrounging for profit in almost every fiber of its being." |
Mark Dujsik |
Tomato 3.5/4 |
The Men Who Stare at Goats (2009) |
"Hilarious and also sobering." |
Mark Dujsik |
Splat 1.5/4 |
The Messengers (2007) |
"The scare tactics are tried and just as tired as they always are." |
Mark Dujsik |
Tomato 3/4 |
Metropolis (2002) |
"A visionary marvel, but it’s lacking a depth in storytelling usually found in anime like this." |
Mark Dujsik |
Tomato 3/4 |
The Mexican (2001) |
"The real surprise here are the scenes between Roberts and Gandolfini." |
Mark Dujsik |
Splat 2.5/4 |
A Mighty Heart (2007) |
"Too focused on events, timelines, and connections to find an emotional core to the story." |
Mark Dujsik |
Splat 2/4 |
A Mighty Wind (2003) |
"Without a familiarity with its characters, the movie plays out more like what it is ... than what it pretends to be." |
Mark Dujsik |
Tomato 3.5/4 |
Million Dollar Baby (2004) |
"A testament to Eastwood's ability to tell a story and find the human truth at its core." |
Mark Dujsik |
Tomato 4/4 |
Minority Report (2002) |
"Quite possibly [Spielberg's] darkest, coldest, most socially pertinent, subversive, and reactionary film to date." |
Mark Dujsik |
Splat 1.5/4 |
Monkeybone (2001) |
"An unfunny movie with small flashes of inspiration that really just turns into a big mess." |
Mark Dujsik |
Tomato 3.5/4 |
Monster's Ball (2001) |
"An intense drama that trusts its characters and lets them move freely amongst themselves and react honestly to the situations in which life places them." |
Mark Dujsik |
Tomato 3.5/4 |
Monsters, Inc. (2001) |
"A wonderfully imaginative and very funny film that shows not only another leap in technology for [Pixar] but also an impressive maturation of their storytelling abilities." |
Mark Dujsik |
Splat 2.5/4 |
Moonlight Mile (2002) |
"I believe Silberling had the best intentions here, but he just doesn’t have the restraint to fully realize them." |
Mark Dujsik |
Splat 1.5/4 |
Motherhood (2009) |
"The lesson, I guess, is that it really sucks being a mom, but it's also incredibly unrewarding." |
Mark Dujsik |
Tomato 3/4 |
The Mothman Prophecies (2002) |
"Not about scares but a mood in which an ominous, pervasive, and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense." |
Mark Dujsik |
Tomato 4/4 |
Moulin Rouge (2001) |
"A daring and audacious film that may not only awaken the movie musical, but that will also place itself among the best films of this year." |
Mark Dujsik |
Splat 2/4 |
Mr. Bean's Holiday (2007) |
"The shtick has gotten old." |
Mark Dujsik |
Tomato 3/4 |
Mr. Brooks (2007) |
"Reminiscent of Patricia Highsmith's Ripley novels, and that is flattering praise." |
Mark Dujsik |
Splat 2.5/4 |
Mr. Deeds (2002) |
"There’s a sense of genuine, naive good will accompanying the material that almost, but not quite, makes up for the far more than occasional lapses of successful comedy." |
Mark Dujsik |
Splat 1.5/4 |
Mr. Woodcock (2007) |
"The few and far between chuckles and an amusing performance from Amy Poehler only keep it from being a painfully unfunny experience." |
Mark Dujsik |
Tomato 3/4 |
Mulholland Dr. (2001) |
"A surreal nightmare--darkly realized and frequently disturbing." |
Mark Dujsik |
Splat 2.5/4 |
The Mummy Returns (2001) |
"The problem with The Mummy Returns is that it tries to qualify the need for a sequel with an extraordinarily unnecessary amount of plot." |
Mark Dujsik |
Tomato 4/4 |
Munich (2005) |
"Devastating in its vision of political strife concentrated down to its fundamental human core." |
Mark Dujsik |
Splat 2.5/4 |
Murder by Numbers (2002) |
"The movie’s major and most devastating flaw is its reliance on formula, though, and it’s quite enough to lessen the overall impact the movie could have had." |
Mark Dujsik |
Tomato 3/4 |
Music and Lyrics (2007) |
"As sweet and likeable as its title is bland." |
Mark Dujsik |
Splat 1.5/4 |
The Musketeer (2001) |
"Did I mention there are fight sequences? They are by far the best part of this movie, but even they disappoint." |
Mark Dujsik |
Splat 2/4 |
My Big Fat Greek Wedding (2002) |
"When Vardalos tries to pass one-joke stereotypes and situations as revelatory characterizations and experiences, it simply doesn’t achieve anything noteworthy." |
Mark Dujsik |
Splat 0/4 |
My Boss's Daughter (2002) |
"It's a despicable, vile piece of garbage and proof positive that the MPAA ratings board is a worthless entity, devoid of any logic and reason." |
Mark Dujsik |
Splat 2/4 |
Mystic River (2003) |
"An apprehensive cross between an elegiac tone poem of loss, an ever-twisting murder mystery, and a character study revolving around the regret of lost innocence, Mystic River tries to be all of these things and ends up falling short on all counts." |
Mark Dujsik |
IGN RSS Feeds
