Tomato 4/4 |
L'Amour Fou (1968) |
"One of the best French films that I've seen." |
Jeremy Heilman |
Tomato |
L'Argent (1983) |
"The ending, most of all, shows Bresson’s ability to find an alternate route to grace, given the circumstances." |
Jeremy Heilman |
Tomato 4/4 |
L'Avventura (1960) |
"Perhaps the quintessential cinematic expression of ennui." |
Jeremy Heilman |
Tomato 3.5/4 |
L'Enfer (1994) |
"Even if it is too much a stripped down genre piece to reach dizzying heights, L'Enfer does an admirable job of exploring the depths of one disturbed man's psyche." |
Jeremy Heilman |
Tomato 4/4 |
La Belle Noiseuse (1991) |
"By methodically examining the rigors and contemplation that go into creating great art, French New Wave master Jacques Rivette, has created something of a masterpiece himself." |
Jeremy Heilman |
Tomato 4/4 |
La Jetée (1962) |
"One of the most cohesive expressions found in the art form." |
Jeremy Heilman |
Tomato 3/4 |
Lagaan (2001) |
"Typifies the pros and cons of the films that India churns out." |
Jeremy Heilman |
Tomato 62/100 |
Lake Tahoe (2009) |
"Lake Tahoe confirms Embicke as a promising young talent, but simultaneously raises some worries that he's only able to offer a small, singular form of pleasure." |
Jeremy Heilman |
Splat 2.5/4 |
Lan Yu (2002) |
"Lan Yu is certainly a serviceable melodrama, but it doesn't even try for the greatness that Happy Together shoots for (and misses)." |
Jeremy Heilman |
Tomato 3/4 |
Lantana (2001) |
"Lantana is definitely a film that works better on a moment to moment basis than it does as a complete package." |
Jeremy Heilman |
Tomato 3.5/4 |
Last Days (2005) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
The Last of England (1987) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
Late Marriage (2001) |
"Late Marriage seems, like its protagonist, lost in a sea of its own ambivalence." |
Jeremy Heilman |
Tomato 88/100 |
Late Spring (1949) |
"An early indicator of Ozu's late-career greatness, his remarkably subtle family drama Late Spring finds him at his expressive peak." |
Jeremy Heilman |
Tomato 3.5/4 |
Le Corbeau (1943) |
"It’s so deftly made, superbly acted and relentlessly bitter that it manages to condemn repression, hypocrisy and those eager to be judgmental on a universal level." |
Jeremy Heilman |
Tomato 78/100 |
Le Jour Se Leve (1939) |
"Set convincingly on the streets and in the tenements, every frame here feels lived in." |
Jeremy Heilman |
Tomato 4/4 |
Le Million (1931) |
"An invitation to see the world through the same rose colored tints that Clair does." |
Jeremy Heilman |
Tomato 3.5/4 |
Le Plaisir (1952) |
"A minor anthology delight from Max Ophüls" |
Jeremy Heilman |
Tomato 3.5/4 |
Léon the Professional (1994) |
"It's surprising to find an action movie with so much emotional baggage, but amazingly it works." |
Jeremy Heilman |
Tomato 4/4 |
Les Destinees (2002) |
"It is most remarkable not because of its epic scope, but because of the startling intimacy it achieves despite that breadth." |
Jeremy Heilman |
Tomato 4/4 |
Les Vampires (1915) |
"Blows almost any modern action film out of the water." |
Jeremy Heilman |
Tomato |
Lessons of Darkness/Fata Morgana (1971) |
"One of the few films that truly deserves to be labeled with the adjective astonishing." |
Jeremy Heilman |
Tomato 3.5/4 |
The Letter (1940) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Life and Nothing More... (1992) |
"The responsibility that Kiarostami feels toward truth combined with the genuine compassion that he displays toward his “characters” makes the film profoundly humanistic." |
Jeremy Heilman |
Splat 1.5/4 |
Life as a House (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3/5 |
Lifeforce (1985) |
"A better than average space vampire flick." |
Jeremy Heilman |
Tomato 2.5/4 |
Lilo & Stitch (2002) |
"It's probably the best cartoon that the studio has released since Mulan." |
Jeremy Heilman |
Tomato 53/100 |
The Limits of Control (2009) |
"Jim Jarmusch takes no prisoners, especially from his audience, in his quest for art house glory." |
Jeremy Heilman |
Splat 36/100 |
Linha de passe |
"Linha de Passe is a noble effort, sure to find favor with audiences predisposed to its message, but unenlightening for those who have seen such material handled with more skill." |
Jeremy Heilman |
Tomato 64/100 |
Lion's Den (2009) |
"Trapero eschews the predictable pleasures of the women-in-prison genre, always opting for introspection and diffusion over dramatic force." |
Jeremy Heilman |
Tomato 3/4 |
Little Otik (2001) |
"An enjoyably absurd bit of Grand Guignol, that often underlines the obvious." |
Jeremy Heilman |
Tomato 4/4 |
Little Shop of Horrors (1986) |
"The film represents a rare example where Hollywood has applied itself rigorously to material that might somehow seem beneath it with wholly satisfying results." |
Jeremy Heilman |
Tomato 3/4 |
The Long Good Friday (1979) |
"Hoskins sometimes manages to elevate the picture’s generally diffuse drama to Shakespearean levels." |
Jeremy Heilman |
Tomato 4/4 |
The Lord of the Rings: The Fellowship of the Ring (2001) |
"Jackson’s offbeat sensibility is relatively muted here, but it doesn’t hurt the film much, nor does the film feel at all impersonal." |
Jeremy Heilman |
Tomato 57/100 |
Lorna's Silence (2009) |
"It’s undeniable that the specificity relayed in every moment of the depiction of Lorna’s humdrum existence trumps the vagueness that surrounds her spiritual awakening." |
Jeremy Heilman |
Splat 48/100 |
Lost in Translation (2003) |
"Attractive and pleasant as it is, there's no escaping the impression that it feels like an overly hip exercise in soul-searching for those who thought American Beauty really did “look closer” at life." |
Jeremy Heilman |
Splat 31/100 |
Love and Other Disasters (2006) |
"It calls out the clichés of its genre only to end up willingly indulging in them more often than not." |
Jeremy Heilman |
Tomato 60/100 |
Love Is the Drug (2006) |
"Elliott Lester's uncommonly assured debut feature, doesn't just shame most other teen dramas; it stands above most recent American independent films of any sort." |
Jeremy Heilman |
Tomato 4/4 |
Loves of a Blonde (1965) |
"Forman somehow manages to craft comedy that neither veers from the challenges of realism nor reeks of shameless manipulation." |
Jeremy Heilman |
Tomato 66/100 |
Lust, Caution (2007) |
"There's no doubt while watching Ang Lee's Lust, Caution that you're in the hands of a supreme filmmaker." |
Jeremy Heilman |
Tomato 4/4 |
The Lusty Men (1952) |
"The first few brief sequences in Nicholas Ray's rip-roaring rodeo flick tell us visually almost everything that we need to know about the director's interest in this story." |
Jeremy Heilman |
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