Tomato 66/100 |
Bad Biology (2008) |
"At once tragically wounded and gloriously shameless, Bad Biology is a must-see for a certain, self-selecting breed of filmgoer." |
Jeremy Heilman |
Splat 34/100 |
Bad Boys II (2003) |
"Even though I occasionally admired the film's hallucinogenic grandeur and bold scope, the majority of Bad Boys II feels like a bad trip." |
Jeremy Heilman |
Tomato 3/4 |
Bad Company (2002) |
"There's surprisingly little awkward comic interplay between the two, and as a result "Bad Company" beats "Rush Hour" at its own game." |
Jeremy Heilman |
Tomato 3/4 |
Bad Education (2004) |
"It’s ironic that the last image that Pedro Almodovar’s Bad Education offers us is a close-up of the Spanish word 'pasión,' because the film feels far too rarefied and precise for its own good." |
Jeremy Heilman |
Tomato 4/4 |
Baise Moi (2001) |
"Baise-Moi feels so resoundingly stunning since we’re so used to getting our feminine empowerment in movies fed to us in compartmentalized bits." |
Jeremy Heilman |
Tomato 4/4 |
The Ballad of Narayama (1983) |
"The Ballad of Naramaya is an indelible and transfixing poem of a movie that packs a substantial and complicated emotional punch." |
Jeremy Heilman |
Tomato 3/4 |
Bandits (2001) |
"Thornton's brilliant performance justifies a great deal of the pap on display." |
Jeremy Heilman |
Splat 29/100 |
The Banishment (2007) |
"For now, the best that can be said about Zvyagintsev is that he seems like he could potentially be a master filmmaker someday, even if he's still not made a good movie." |
Jeremy Heilman |
Tomato 3/4 |
Battle Royale (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
Battle Royale II (2003) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
A Beautiful Mind (2001) |
"Pedantic and sophistic." |
Jeremy Heilman |
Splat 2.5/4 |
Begotten (1991) |
"A passion play that wavers between amateur-hour incompetence and an undeniable directorial vision." |
Jeremy Heilman |
Tomato 4/4 |
The Beyond (1981) |
Click here to see the review. |
Jeremy Heilman |
Splat 42/100 |
Beyond the Years (2007) |
"Beyond the Years suggests, rather simplemindedly, that purity of heart and endless practice are the keys to a great performance." |
Jeremy Heilman |
Splat 31/100 |
Big Fish (2003) |
"Burton is so taken with Edward's tales that the son's efforts to find the man who lives behind the façade come off like the machinations of a sulking child." |
Jeremy Heilman |
Tomato 4/4 |
The Big Lebowski (1998) |
"One of the best comedies of the nineties, and the best film thus far from the Coen Brothers." |
Jeremy Heilman |
Tomato 66/100 |
Biker Boyz (2003) |
"A surprisingly ambivalent entry in genre that’s usually brain-dead." |
Jeremy Heilman |
Tomato 3/4 |
Billy Elliot (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 71/100 |
Bird (1988) |
"Eastwood clearly is committed to presenting Bird to his audience with all of his complexities and contradictions intact." |
Jeremy Heilman |
Tomato 3/4 |
Birthday Girl (2002) |
"It leaves little doubt that Kidman has become one of our best actors." |
Jeremy Heilman |
Splat 2.5/4 |
Black Cadillac |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
The Black Cat (1934) |
"One of the best in Universal's storied horror cycle." |
Jeremy Heilman |
Tomato 83/100 |
Black God, White Devil (1964) |
"It almost immediately launches into a nightmarish journey of violence and hopelessness, confronting us with an abstract yet uncomfortable vision of human struggle." |
Jeremy Heilman |
Splat 2.5/4 |
Black Hawk Down (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Blind Mountain (2008) |
"Blind Mountain, the second film from fledgling Chinese filmmaker Li Yang, demonstrates many of the same qualities that made his first, Blind Shaft, one of the most promising directorial debuts of recent years." |
Jeremy Heilman |
Tomato 3/4 |
Blissfully Yours (2004) |
"The viewer's reaction to the film seems extraordinarily subjective. I wouldn't be surprised if my third viewing of it found me declaring it either a dismal failure or a truly great work. For now, I'll settle on ambivalence." |
Jeremy Heilman |
Tomato 4/4 |
Blood of a Poet (1930) |
"The imagery used here is still stunning despite its low-tech nature." |
Jeremy Heilman |
Tomato 3/4 |
Blood Simple (1984) |
"It’s certainly not a bad film, but it’s hardly the classic reinvention of film noir that it wants to be." |
Jeremy Heilman |
Tomato 3/4 |
Blood Simple: Director's Cut (2000) |
"It’s certainly not a bad film, but it’s hardly the classic reinvention of film noir that it wants to be." |
Jeremy Heilman |
Splat 1.5/4 |
Bloody Sunday (2002) |
"The cinema verite style that Paul Greengrass’ supposed historical recreation film Bloody Sunday employs opens a dangerous can of worms that I could never push back shut while watching it." |
Jeremy Heilman |
Tomato 4/4 |
Blow Out (1981) |
"Brian De Palma’s movies are a stunningly uneven lot, but that might just be because he takes as many risks as he does." |
Jeremy Heilman |
Tomato 4/4 |
The Blue Angel (1930) |
"It’s a brilliant, vitriolic condemnation of pre-WWII German Conservatism." |
Jeremy Heilman |
- |
The Blue Angel - English Version (1930) |
Click here to see the review. |
Jeremy Heilman |
Tomato 57/100 |
Bodies, Rest & Motion (1993) |
"A generally winning romantic comedy possessing an unusual degree of self-importance, Bodies, Rest and Motion works primarily because of its likable cast." |
Jeremy Heilman |
Splat 2/4 |
Body Double (1984) |
"Ultimately, Body Double feels like a film that seems more interested in pleasing itself than pleasing the audience." |
Jeremy Heilman |
Tomato 4/4 |
Boogie Nights (1997) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
The Book of Life (1998) |
"Hartley always underplays things, even when the world’s about to end." |
Jeremy Heilman |
Splat 2.5/4 |
The Bourne Identity (2002) |
"It has the reeled-in pyrotechnics and the muted pacing of an intelligent spy film, but it doesn’t have the smarts of one." |
Jeremy Heilman |
Splat 1/4 |
Bowling for Columbine (2002) |
"Always the underdog, [Moore]'s fighting hard against just about everyone here, but mostly he's fighting to give a movie that's saddled with a terminally unclear thesis some sense of gravitas." |
Jeremy Heilman |
Splat 2/4 |
Boxcar Bertha (1972) |
"Many of this movie’s problems lie in the cookie-cutter script, which squanders most of the very real potential of a movie about Bertha Thompson’s life." |
Jeremy Heilman |
Splat 2/4 |
Bread & Roses (2001) |
"It doesn't really succeed in illustrating the workers' plights in a way that is ultimately sympathetic." |
Jeremy Heilman |
Splat 2.5/4 |
Breaking Away (1979) |
"This timeworn material probably should work, but it doesn’t really since, most of the film’s angst and conflict seems calculated." |
Jeremy Heilman |
Tomato 4/4 |
Breaking the Waves (1996) |
"If you haven't seen this film yet, stop reading and seek it out." |
Jeremy Heilman |
Tomato 4/4 |
Breathless (1959) |
"A stunning success" |
Jeremy Heilman |
Tomato 4/4 |
Brief Encounter (1946) |
"David Lean’s Brief Encounter towers over the majority of romantic films, precisely because it calls the bluff of the genre’s wish fulfillment." |
Jeremy Heilman |
Tomato 4/4 |
A Brighter Summer Day (1991) |
"A Brighter Summer Day stands as a massive achievement, perhaps the greatest in all of modern Taiwanese cinema." |
Jeremy Heilman |
Tomato 3/4 |
Bringing Down the House (2003) |
"The film only truly stumbles as it enters into its plot-heavy third act, which wastes a lot of energy, but still can't manage to satisfy the audience’s desire to see Latifah and Martin fall in love." |
Jeremy Heilman |
Tomato 3.5/4 |
Broken Blossoms (1919) |
"Tremendously downbeat, but beautifully stylized." |
Jeremy Heilman |
Splat 27/100 |
Bronson (2009) |
"A determinedly ugly movie, as brutish in its delivery as its subject is brutish in character, Bronson fails to offer meaningful insight into the life of a singularly idiotic individual." |
Jeremy Heilman |
Tomato 65/100 |
The Brown Bunny (2004) |
"An uncommonly sensitive film that, while still far from being great, is certainly no unmitigated disaster. It undoubtedly proves that the journey is at least as important as the destination." |
Jeremy Heilman |
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