Tomato |
A Nous La Liberte (1931) |
"Compared to his contemporaries Jean Renoir and Jean Vigo, Clair was a minor talent, though both of these films do contain innovative uses of sound mixed with silent film." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
A Scanner Darkly (2006) |
"Richard Linklater's A Scanner Darkly does proud the tradition of cultish movies adapted from Philip K. Dick stories." |
Jeffrey M. Anderson |
Tomato 3/4 |
A.I. Artificial Intelligence (2001) |
"[The] middle section [of A.I.] contains perhaps Spielberg's finest work, ever." |
Jeffrey M. Anderson |
Tomato |
Ab-Normal Beauty (2004) |
"Until the mystery is uncovered, Pang keeps the razor tension at a satisfying peak." |
Jeffrey M. Anderson |
Tomato |
Abbott and Costello Meet Frankenstein (1948) |
"It's ridiculous, of course, but the combination of classic monsters, dizzy sets and some of Bud and Lou's funniest bits make it a keeper." |
Jeffrey M. Anderson |
Tomato |
ABC Africa (2002) |
"Unexpectedly humane and lovely and not at all preachy." |
Jeffrey M. Anderson |
Tomato |
About a Boy (2002) |
"For a while the movie has lots of laughs, and a fun Christmas theme besides." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
About Schmidt (2002) |
"About Schmidt can be rough going; the laughter always hurts just a little bit." |
Jeffrey M. Anderson |
Tomato |
Absolute Power (1997) |
"Eastwood films with his usual effortless pace, generating suspense practically out of thin air." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Absurdistan (2008) |
"Absurdistan moves with confidence and grace with a genuine romantic and erotic drive." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
The Acid House (1998) |
"...assaults our jaded senses..." |
Jeffrey M. Anderson |
Tomato 3/4 |
Adam (2009) |
"Crosses the "disease-of-the-week" genre with the traditional romantic comedy, but miraculously avoids all the trappings of both; it's charming without being cheap, romantic without being rote." |
Jeffrey M. Anderson |
Tomato 4/4 |
Adaptation (2002) |
"Nervy and sensitive, it taps into genuine artistic befuddlement, and at the same time presents a scathing indictment of what drives Hollywood." |
Jeffrey M. Anderson |
Tomato 3/4 |
Addams Family Values (1993) |
"I like it when Hollywood apologizes. And I liked this movie. Apology accepted." |
Jeffrey M. Anderson |
Tomato 3/4 |
The Addiction (1995) |
"What we get is a slight, but entertaining movie, that's (dare I say it?) unintentionally funny at times." |
Jeffrey M. Anderson |
Tomato 3/4 |
Adrenaline Drive (1999) |
"...works because it's rather low-key..." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Adventureland (2009) |
"The film's main concern is the characters, and they're a genuinely tarnished, genuinely appealing bunch." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984) |
"There's so much going on here and so much fun to be had, I've never really been sure what the plot was." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
The Adventures of Robin Hood (1938) |
"Fast-paced and loose, this 120-minute production concentrates mostly on fun, energy and high spirits." |
Jeffrey M. Anderson |
Tomato |
An Affair to Remember (1957) |
"Cheapened by the many references in Sleepless in Seattle, An Affair to Remember plays much better than you might imagine." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Affliction (1997) |
"A terrifying movie that faces the truth of cruelty and its everlasting results." |
Jeffrey M. Anderson |
Tomato |
Afro Promo (2006) |
"It's undoubtedly a lot of fun, but eventually, with no commentary whatsoever, Hollywood's attitudes toward blacks and the evolution of black stereotypes become crystal clear." |
Jeffrey M. Anderson |
Tomato 4/4 |
After Hours (1985) |
"I love it for its unrelenting inventiveness, its constant motion and its curmudgeonly glass-half-empty outlook." |
Jeffrey M. Anderson |
Tomato 3/4 |
After Innocence (2005) |
"Come Oscar night, After Innocence will almost certainly trump them all. It's not necessarily better than any of the others, but its call for social awareness rings out bolder and rises higher." |
Jeffrey M. Anderson |
Tomato |
After Life (1998) |
"This is a very special movie, unlike anything I've seen in a long time." |
Jeffrey M. Anderson |
Tomato |
Age of Consent (1969) |
"Though it lacks the vivid touch from his earlier days, it has a surprisingly comfortable, relaxed feel, still vigorous but also at peace." |
Jeffrey M. Anderson |
Tomato 3/4 |
The Age of Innocence (1993) |
"The Age of Innocence drags through some of the usual costume movie elements, but Scorsese's exuberance carries the show." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
The Agronomist (2004) |
"The Agronomist has unexpectedly turned out to be a much more compelling and urgent film than anything else Demme has done." |
Jeffrey M. Anderson |
Tomato 4/4 |
Aguirre, the Wrath of God (1973) |
"It's a truly amazing movie, an epic made from genius, stubbornness, and madness." |
Jeffrey M. Anderson |
Tomato |
Air Force (1943) |
"All of director Howard Hawks' skills are on display in this exciting, crackerjack WWII film." |
Jeffrey M. Anderson |
Tomato |
Airplane! (1980) |
"The definition of 'deadpan' starts and ends with Jim Abrahams, David Zucker and Jerry Zucker's Airplane!." |
Jeffrey M. Anderson |
Tomato 3/4 |
AKA (2002) |
"Roy has told an engaging, complex story with masks under its masks." |
Jeffrey M. Anderson |
Tomato 3/4 |
Akeelah and the Bee (2006) |
"A few silly quibbles aside, this is mainstream, family filmmaking at its finest." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Akira (1988) |
"Not necessarily the first nor the best anime, but certainly the one that introduced most Americans to the genre." |
Jeffrey M. Anderson |
Tomato |
Aladdin (1992) |
"A satisfying little gem." |
Jeffrey M. Anderson |
Tomato |
Alex Borstein - Drop Dead Gorgeous (2006) |
"Don't miss this." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Alexandra (2008) |
"Sokurov's excellent new Alexandra begins with an almost laughable scenario." |
Jeffrey M. Anderson |
Tomato 4/4 |
Ali: Fear Eats the Soul (1974) |
"Fassbinder made this one on the cheap between bigger projects and scored with a beautifully observed, and even oddly gentle tale." |
Jeffrey M. Anderson |
Tomato 3/4 |
Alias Betty (2002) |
"It says a lot about a filmmaker when he can be wacky without clobbering the audience over the head and still maintain a sense of urgency and suspense." |
Jeffrey M. Anderson |
Tomato 4/4 |
Alice Doesn't Live Here Anymore (1974) |
"Coming just after Mean Streets and before Taxi Driver, it's as good as either of them." |
Jeffrey M. Anderson |
Tomato |
Alice in Cartoonland (1925) |
"They're nowhere near Who Framed Roger Rabbit quality, but they're very clever in their own way." |
Jeffrey M. Anderson |
Tomato |
Alice in Wonderland (1951) |
"Disney's animated musical adaptation of Lewis Carroll's classic is enjoyable and contains a few twisted touches and slanted visuals." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Alien (1979) |
"The sheer starkness of the filmmaking, Scott's brutal, inventive use of light, space and sound, and the stripped-down storytelling make this a classic." |
Jeffrey M. Anderson |
Tomato |
Alien: The Director's Cut (2003) |
"Alien is a triumph of style over substance, of lean over fat." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
Aliens (1986) |
"Everything a sequel should be." |
Jeffrey M. Anderson |
Tomato |
Alila (2004) |
"Gitai delivers an amazing film every bit as satisfying as his masterpiece Kippur (2001)." |
Jeffrey M. Anderson |
Tomato 4/4 |
All About Eve (1950) |
"It's about the glory of acting." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
All About My Mother (1999) |
"A weepie movie with a brainy sensibility, an open heart, and a wicked sense of humor." |
Jeffrey M. Anderson |
Tomato |
All My Loving (1968) |
"Both an exciting time capsule as well as a fascinating -- and almost timeless -- comment on the form itself." |
Jeffrey M. Anderson |
Tomato 3.5/4 |
All or Nothing (2002) |
"Sure, it would be nice to see more of the droll humor like that of Life Is Sweet or the toxic energy of Naked, but All or Nothing contains not one misstep." |
Jeffrey M. Anderson |
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