Tomato 3.5/4 |
R-Xmas (2002) |
"Essentially, this is Abel Fererra's It’s a Wonderful Life." |
Jeremy Heilman |
Splat 2/4 |
Rabbit-Proof Fence (2002) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Rain (1932) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Raising Victor Vargas (2003) |
"It wonderfully captures both the innocent side of teenage puppy love and the posturing that always threatens to end that innocence." |
Jeremy Heilman |
Tomato 4/4 |
Rashomon (1950) |
"The moral ambiguities of the film certainly are enlightening." |
Jeremy Heilman |
Tomato 3.5/4 |
Ratcatcher (2000) |
"A surprisingly assured and highly original directorial debut." |
Jeremy Heilman |
Splat 2.5/4 |
Real Life (1979) |
"There's a little bit of genuine prescience, inspiration, and intelligence coursing through its veins, but mostly that smattering of each just makes you crave more." |
Jeremy Heilman |
Tomato 3/4 |
Real Women Have Curves (2002) |
"A pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances." |
Jeremy Heilman |
Tomato 4/4 |
Rebels of the Neon God (1992) |
"Using very little camera movement and a good deal of humor, pathos, and rained out cityscapes, the director crafts an enjoyable, fast-paced, but still poignant, look at modern loneliness." |
Jeremy Heilman |
Tomato 4/4 |
The Red and the White (1968) |
"A war film unlike any other." |
Jeremy Heilman |
Splat 2/4 |
Red Dragon (2002) |
"There are plenty of chuckles to be found in [it], and some of them seem intentional, but they essentially drain the drama from the film, making it impossible to be engaged by it on the suspenseful terms that the novel was originally intended to function." |
Jeremy Heilman |
Tomato 3.5/4 |
Red Lights (2004) |
Click here to see the review. |
Jeremy Heilman |
Splat 1.5/4 |
Red Pomegranate (1969) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
The Red Shoes (1948) |
"The first ninety minutes are really something special." |
Jeremy Heilman |
Tomato 2.5/4 |
Reign of Fire (2002) |
"From the moment he appears on screen, McConaughey seems physically and behaviorally transformed from what we’ve seen in the past." |
Jeremy Heilman |
Splat 42/100 |
Religulous (2008) |
"Religulous is no model for journalistic excellence, but it probably needn't be. It is more an opportunity for Maher to showcase his competent comic delivery than to win hearts and minds." |
Jeremy Heilman |
Splat 2/4 |
Requiem for a Dream (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Resident Evil (2002) |
"It works well enough, since the thrills pop up frequently, and the dispatching of the cast is as often imaginative as it is gory." |
Jeremy Heilman |
Splat 2.5/4 |
Riding in Cars with Boys (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Ringu (1998) |
"Even if it's been tailor made for Japanese schoolgirls, it still had me screaming like one." |
Jeremy Heilman |
Splat 2/4 |
Road to Perdition (2002) |
"Everything’s been scripted and art-directed until all spontaneity ceases to exist... [It] feels stifling and utterly embarrassed to be a genre picture." |
Jeremy Heilman |
Tomato 52/100 |
Robinson Crusoe on Mars (1964) |
"Almost distractingly, faithful to the original novel despite its radically different setting, the film is a pleasure mostly because of its vivid Technicolor backdrops." |
Jeremy Heilman |
Tomato 3.5/4 |
Robocop (1987) |
"Somehow the more violence that the director shows, the less real it becomes." |
Jeremy Heilman |
Tomato 4/4 |
Rocco & His Brothers (1960) |
"A stirring and expansive family epic." |
Jeremy Heilman |
Splat 2.5/4 |
Roger Dodger (2002) |
"It only rarely becomes less than apparent that lurking behind these clever characters there's a cleverer screenwriter, delighting himself as he takes turns setting each of them up for a verbal fall." |
Jeremy Heilman |
Tomato 4/4 |
Rosemary's Baby (1968) |
"Surely one of the best horror films ever made." |
Jeremy Heilman |
Tomato 3/4 |
The Royal Tenenbaums (2001) |
"The characters are wonderful and Anderson obviously loves them." |
Jeremy Heilman |
Splat 38/100 |
The Rules of Attraction (2002) |
"The opening moments culminate with a drunken date rape during which the rapist vomits on the back of his victim. It doesn't really improve from there." |
Jeremy Heilman |
Tomato 3.5/4 |
Russian Ark (2002) |
"Even before it builds up to its insanely staged ballroom scene, in which 3000 actors appear in full regalia, it's waltzed itself into the art film pantheon." |
Jeremy Heilman |
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