Splat 2/4 |
Dahmer (2002) |
"Since Dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer, it misses a major opportunity to be truly revelatory about his psyche." |
Jeremy Heilman |
Splat 39/100 |
The Damned United (2009) |
"It devolves into a morass of bitterness, losing even the rooting interest in the underdog that makes the formulaic structure of most sports films forgivable." |
Jeremy Heilman |
Tomato 4/4 |
Dancer in the Dark (1999) |
"Ultimately, it's a tribute to the power of cinema." |
Jeremy Heilman |
Splat 2/4 |
The Dangerous Lives of Altar Boys (2002) |
"While it's true that there's little about Altar Boys that's inept, there's even less about it that's genuinely interesting." |
Jeremy Heilman |
Tomato 85/100 |
The Dark Knight (2008) |
"It is a supreme achievement in its genre. It doesn't transcend its comic book origins, but rather faithfully represents them, wholly unembarrassed to deliver its story on its own terms." |
Jeremy Heilman |
Splat 2.5/4 |
Dark Water (2005) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3/4 |
Darling (1965) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Day of Wrath (1943) |
"Day of Wrath is probably the simplest of the Dreyer films that I've seen, but it is still a great work." |
Jeremy Heilman |
Tomato 3.5/4 |
Days of Being Wild (1990) |
"It goes to show that "average" Wong Kar-Wai is better than just about anyone else on a good day." |
Jeremy Heilman |
Tomato 4/4 |
Dead Man (1996) |
"It's completely irony-free because it's so convinced that it has something potent to say." |
Jeremy Heilman |
Tomato 3/4 |
Dead of Night (1945) |
"Though quite obviously possessing both structure and content that has been influential to its genre, there's something about [it]that keeps it from rising very far above its legions of imitators" |
Jeremy Heilman |
Tomato 3.5/4 |
A Delicate Balance (1973) |
"More surprising than the acerbic tone or the intense shouting matches though is the very touching sentiment that emerges whenever a quiet moment transpires." |
Jeremy Heilman |
Tomato 3/4 |
Deliverance (1972) |
"The times when Deliverance really comes alive are when the actors shut up and the action takes over, which fortunately happens quite often." |
Jeremy Heilman |
Splat 39/100 |
Delta (2008) |
"It doesn't name its characters, hoping to make the story seem allegorical, or at least elemental, but the result is a movie that just makes itself hopelessly generic." |
Jeremy Heilman |
Tomato 3.5/4 |
Demonlover (2003) |
"As the thinking person's spy thriller, Demonlover delivers. Its fierce determination in deconstructing the sexual politics that are so often taken for granted in this sort of film provide more thrills than the average Bond outing." |
Jeremy Heilman |
Splat 39/100 |
Departures (2009) |
"Such modestly crafted moral tales sometimes manage win the audience over, but here the tone wavers too much for sincerity to be felt." |
Jeremy Heilman |
Tomato 82/100 |
Le Deuxieme Souffle (1966) |
"The product of a director in complete control of his talents, Second Breath musters enough depth that by its conclusion it feels only nominally like a heist film." |
Jeremy Heilman |
Tomato 3/4 |
Devdas (2002) |
"When a movie throws as much at you as Devdas does, it’s easy to forgive minor disappointments." |
Jeremy Heilman |
Splat 2.5/4 |
The Devil's Backbone (2001) |
"It seems to want to badly too scare us to make it wholly effective as a political allegory." |
Jeremy Heilman |
Tomato 54/100 |
The Devil's Daughter (1939) |
"In its best moments The Devil's Daughter achieves an authenticity that cannot be denied." |
Jeremy Heilman |
Tomato 3/4 |
The Devonsville Terror (1983) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
Dial M for Murder (1954) |
"A merely adequate Hitchcock thriller." |
Jeremy Heilman |
Tomato 4/4 |
The Diary of a Country Priest (1950) |
"Robert Bresson delivers a seemingly simple account of one priest's spiritual challenges in his masterful, moving Diary of a Country Priest." |
Jeremy Heilman |
Tomato 3.5/4 |
A Dirty Shame (2004) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3/4 |
Distance (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 1/4 |
Divine Secrets of the Ya-Ya Sisterhood (2002) |
"Everything about Divine reeks because of a haphazard hope that people won't question what they’re seeing." |
Jeremy Heilman |
Tomato 54/100 |
Le Divorce (2003) |
"It isn't very ambitious but it's pleasant in both its poise and reserve." |
Jeremy Heilman |
Tomato 54/100 |
Le Divorce (2003) |
"It isn't very ambitious but it's pleasant in both its poise and reserve." |
Jeremy Heilman |
Tomato 3/4 |
Domestic Violence (2002) |
Click here to see the review. |
Jeremy Heilman |
Splat 2.5/4 |
Don's Plum (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
Don't Say a Word (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Donnie Brasco (1997) |
"One of the most moving and insightful gangster films ever made." |
Jeremy Heilman |
Tomato 3/4 |
Donnie Darko (2001) |
"Clearly, Richard Kelly is a director to watch." |
Jeremy Heilman |
Tomato 3/4 |
Doppelganger (2003) |
Click here to see the review. |
Jeremy Heilman |
Tomato 95/100 |
Dr. Mabuse the Gambler (1922) |
"One of the silent era's best and most exciting epics, the hyper-modern Dr. Mabuse, The Gambler has scarcely aged a day in nearly ninety years." |
Jeremy Heilman |
Tomato 4/4 |
Dr. T and the Women (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Dracula: Pages from a Virgin's Diary (2003) |
"Maddin's Dracula will entrance you with its first few flickering frames and then hold you there spellbound until its climatic dance of death." |
Jeremy Heilman |
Tomato 75/100 |
Drawing Restraint 9 (2006) |
"[Barney's] pieces are wrought with meaning, and it's best to approach them with the mindset that literally everything on screen is loaded with significance" |
Jeremy Heilman |
Tomato 3.5/4 |
The Dreamers (2004) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Drunken Angel (1948) |
"It marked the first time that Akira Kurosawa directed Toshiro Mifune, but the results are excellent enough that you can see why their collaborations continued for decades." |
Jeremy Heilman |
Splat 1.5/4 |
Duel (1971) |
"Duel has come to represent much of what is “wrong” with the current cinema." |
Jeremy Heilman |
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