Tomato 68/100 |
Caché (2005) |
"[It] is a superb piece of work, made by a master of the form, yet I'm not quite sure how much I like it. By design, it's a purposely-unsatisfying contraption." |
Jeremy Heilman |
Tomato 58/100 |
California Dreamin' (2009) |
"[It] could do with some editing (indeed, the parenthetical in the title refers to its unshaped state), but there's just as little doubt that Nemescu's work is pretty worthy as is." |
Jeremy Heilman |
Tomato 4/4 |
Candyman (1992) |
"It's the mythic sort of horror / art film combination that is usually referenced in reviews of films that hew too closely to one of those elements to be successful as both." |
Jeremy Heilman |
Tomato 3/4 |
La Captive (2001) |
"It's like an even more inert version of Antonioni’s L’Avventura without the overriding mystery that made that film so compelling and enduring." |
Jeremy Heilman |
Tomato 3/4 |
Captivity (2007) |
"Plunges the viewer almost directly into its nightmarish scenario." |
Jeremy Heilman |
Splat 2/4 |
Capturing the Friedmans (2003) |
"A document that, much like the denial-stricken members of the Friedman clan, seems to have become so clouded by bias that it refuses to look for the truths in front of it." |
Jeremy Heilman |
Tomato 2/4 |
Cast Away (2000) |
"There's something inherently compelling about the situation, even if the movie screwed up on the specifics." |
Jeremy Heilman |
Tomato 4/4 |
Casualties of War (1989) |
"The equation of sanctioned and unsanctioned barbarism in the climactic moments of Casualties is about as damning an indictment of the way that humanity justifies immoral acts during war as I've seen." |
Jeremy Heilman |
Splat 2.5/4 |
The Cat's Meow (2002) |
"The director’s inability to make us feel that these events say something larger about society and the glaring tonal inconsistencies eventually cause this ship to sink." |
Jeremy Heilman |
Tomato 3.5/4 |
Central Station (1998) |
Click here to see the review. |
Jeremy Heilman |
Tomato 77/100 |
Changeling (2008) |
"It must be noted that the movie demands some degree of resolve from its audience, and it promises no simple resolutions in return. This will trouble some, yet one can't call its rigorously factual approach dishonest or cheaply manipulative." |
Jeremy Heilman |
Tomato 3.5/4 |
Charlie and the Chocolate Factory (2005) |
Click here to see the review. |
Jeremy Heilman |
Splat 46/100 |
Charlie Wilson's War (2007) |
"Charlie Wilson's War manages to be at once utterly irresponsible and mildly entertaining." |
Jeremy Heilman |
Tomato 75/100 |
Charlie's Angels: Full Throttle (2003) |
"A startling/shining example of Hollywood's ability to absorb everything, including anti-Hollywood sentiment, and regurgitate it as something sexier, flashier, more fun, and less filling." |
Jeremy Heilman |
Tomato 4/4 |
Charlotte Gray (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 42/100 |
Charlotte Sometimes (2002) |
"It features plenty of hushed moments that suggest the presence of nuances that never really emerge from its murky tone." |
Jeremy Heilman |
Tomato 53/100 |
The Chaser (2009) |
"It announces Na Hong-jin as a filmmaker willing to go to places that even most so-called horror movies would shy away from." |
Jeremy Heilman |
Tomato 68/100 |
Chasing Liberty (2004) |
"This brand of romantic comedy mostly depends on the appeal of its stars, and Mandy Moore is an uncommonly gifted young talent." |
Jeremy Heilman |
Tomato 3/4 |
Che (2008) |
"A demanding work of cinematic structuralism that eschews most of the conventions of both the war film and the biopic." |
Jeremy Heilman |
Splat 2.5/4 |
Cherry Falls (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
Chi-hwa-seon (2002) |
"A rather conventional artist's biopic that's occasionally blessed with an astute sense of physical movement and natural spectacle." |
Jeremy Heilman |
Splat 2.5/4 |
Chicago (2002) |
"Once the musical numbers start, the editing does nearly everything it can to inhibit proper evaluation or appreciation of talents of the performers." |
Jeremy Heilman |
Tomato 4/4 |
Children of Paradise (1945) |
"Carne’s backstage backdrop has clearly set the standard for most theater-bound films." |
Jeremy Heilman |
Tomato 4/4 |
Chloe in the Afternoon (1972) |
"There exists in Chloe's characters a rare sort of self-reflection, and it's immensely gratifying to watch in action." |
Jeremy Heilman |
Splat 1/4 |
Chocolat (2000) |
"Chocolat is awful." |
Jeremy Heilman |
Splat 43/100 |
Chocolate (2009) |
"It fails to be the exploitation movie it desperately wants to be. Too much attention is paid to the tear-jerking elements, which never register because the plot is so sparse." |
Jeremy Heilman |
Tomato 4/4 |
Choose Me (1984) |
"Its mixture of intelligence and sentiment hasn’t dated at all." |
Jeremy Heilman |
Tomato 58/100 |
Christmas Holiday (1944) |
"A sharp departure into salacious territory for sugar-and-spice star Deanna Durbin" |
Jeremy Heilman |
Tomato 76/100 |
A Christmas Tale (2008) |
"By frontloading the dramatic meat of the story, the film becomes less about shocking revelations or plot twists than the sometimes comic, sometimes serious dynamics of a family under extreme strain." |
Jeremy Heilman |
Splat 1/4 |
Cinema Paradiso (1989) |
"It never is afraid to simplify itself further so that no one watching feels left out of its banality." |
Jeremy Heilman |
Tomato 3/4 |
Cinemania (2003) |
"An enjoyable look at the almost frightening grip that cinephilia has on these people's lives." |
Jeremy Heilman |
Tomato 3.5/4 |
The Circle (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
City of God (2003) |
"The direction is often inspired and sure-handed, even if it's sometimes unfocused or overambitious." |
Jeremy Heilman |
Splat 2/4 |
The City of Lost Souls (2000) |
"It feels utterly hollow despite Miike’s wizardry." |
Jeremy Heilman |
Tomato 4/4 |
City of Sadness (1989) |
"An ambitiously conceived, sometimes frustratingly elliptical family chronicle that shows one family's experience immediately following the Japanese occupation of the nation." |
Jeremy Heilman |
Tomato 54/100 |
The Class (2008) |
"It's a strong testament to its crowd-pleasing nature that I'd begrudgingly recommend the movie in spite of its conceptual and ideological shortcomings." |
Jeremy Heilman |
Tomato 3.5/4 |
Clean Slate (1981) |
"It’s often hilarious. It’s just that that humor is so mordant that it’s sometimes hard to accept." |
Jeremy Heilman |
Tomato 4/4 |
Close-Up (1990) |
"That it remains difficult to classify Kiarostami solely as either a great director or a great journalist at the film’s end only enhances the film’s power." |
Jeremy Heilman |
Splat 38/100 |
Cloverfield (2008) |
"Ultimately a feature-length tease, the movie remarkably insubstantial and uninvolving for something that tries so desperately to live in the moment." |
Jeremy Heilman |
Tomato 4/4 |
Code Unknown (2001) |
"It doesn’t endorse narrow-mindedness, but instead, uses it as a topic to illustrate just how brilliantly broad-minded filmmaking can be." |
Jeremy Heilman |
Tomato 4/4 |
Collateral (2004) |
"Clearly one of the year’s most impressive and sustained directorial tour-de-forces." |
Jeremy Heilman |
Tomato 4/4 |
The Color of Money (1986) |
"For the bulk of the run time, The Color of Money excels on its intended terms as a sexy genre picture, mostly thanks to an energetic star turn courtesy of Tom Cruise." |
Jeremy Heilman |
Splat 1.5/4 |
The Color of Pomegranates (1969) |
"As much as I can recognize the obvious effort and specific intent that went into the film, I am at a complete loss to comprehend what exactly it’s trying to say to me." |
Jeremy Heilman |
Tomato 54/100 |
Come to the Stable (1949) |
"Surely a film that shows both its age and its seams, Come to the Stable nonetheless remains a testament to old Hollywood's ability to sell anything it put its mind to." |
Jeremy Heilman |
Tomato 3.5/4 |
Coming Home (1978) |
"Politics aside, there’s little to complain about in Coming Home." |
Jeremy Heilman |
Tomato 80/100 |
The Company (2003) |
"A too-rare example of the star-driven Hollywood system creating a project driven by artistry instead of ego, The Company is Robert Altman's best work in a decade." |
Jeremy Heilman |
Tomato 3.5/4 |
Conspirators of Pleasure (1996) |
"The film’s handmade look fits the material, since it’s about desires too personal to be mass-produced." |
Jeremy Heilman |
Tomato 3/4 |
Container (2006) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
The Contender (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 35/100 |
Coraline (2009) |
"[F]or all of its attempted transgressive wonderment and morbid curiosity, Coraline remains firmly grounded in convention." |
Jeremy Heilman |
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