Tomato 4/4 |
Safe (1995) |
"Safe is a movie that's so ambivalently torn between mocking its subject and looking at her with complete conviction that it becomes exhilarating." |
Jeremy Heilman |
Tomato 3.5/4 |
Salesman (1968) |
"It hasn't dated much at all, which is both disturbing and enlightening." |
Jeremy Heilman |
Tomato 3.5/4 |
Salo, Or The 120 Days of Sodom (1975) |
"I was more intellectually engaged than offended while watching it." |
Jeremy Heilman |
Tomato 4/4 |
Santa Sangre (1990) |
"Santa Sangre is cobbled together from parts, in the best possible way." |
Jeremy Heilman |
Tomato 3.5/4 |
The Saragossa Manuscript (1965) |
"Surely one of the most convolutedly plotted films ever to reach the silver screen." |
Jeremy Heilman |
Tomato 4/4 |
Satantango (1994) |
"Just as the film eschews typical filmic moralizing and simplification, it also casts off the typical language of film." |
Jeremy Heilman |
Tomato 4/4 |
Scarlet Empress (1934) |
"The filmmaking is invigorating, with some of the images standing out as originals to this day." |
Jeremy Heilman |
Tomato 3.5/4 |
The Scent of Green Papaya (1993) |
Click here to see the review. |
Jeremy Heilman |
Tomato 55/100 |
Schindler's Houses (2007) |
"With each new shot, angles and perspectives are shifted, requiring viewers to reorient themselves." |
Jeremy Heilman |
Splat 33/100 |
Schindler's List (1993) |
"There's no trust here from the director that the audience might be able to fathom the horrors of the Holocaust if the lines between good and bad aren't distinctly drawn." |
Jeremy Heilman |
Splat 43/100 |
Seabiscuit (2003) |
"There's no escaping the fact while watching it that we're essentially watching the story of an icon founded out of PR hype." |
Jeremy Heilman |
Tomato 3.5/4 |
Sebastiane (1975) |
"[It] treads an almost imperceptible line between using devout fidelity to ratify its source and using rampant infidelity to undermine it." |
Jeremy Heilman |
Tomato 3.5/4 |
Secret Defense (1998) |
"Rivette uses this time to flesh out his characters and their actions to the point where the movie feels closer to a novel than cinema." |
Jeremy Heilman |
Tomato 4/4 |
Secret Things (2003) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
Secretary (2002) |
"Even as the stakes are raised in Secretary's sexual give and take, the movie retains its detached, private mood." |
Jeremy Heilman |
Tomato 3/4 |
Serendipity (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
The Seventh Seal (1957) |
"Easily, one of the greatest films ever made." |
Jeremy Heilman |
Tomato 4/4 |
Seventh Seal, The - Special LV Edition (1956) |
"Easily, one of the greatest films ever made." |
Jeremy Heilman |
Splat 2/4 |
Shadow of the Vampire (2000) |
"It's way too disjointed to really say what the intent of the endeavor really was." |
Jeremy Heilman |
Tomato 3/4 |
Shallow Hal (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Shanghai Express (1932) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3/4 |
Shaolin Soccer (2002) |
"The movie is always alternating between narrative crudeness and technical perfection." |
Jeremy Heilman |
Splat 2/4 |
The Shipping News (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 60/100 |
Shoah (1985) |
"The film is undeniably tough going, but by looking into the hearts of the people that experienced the atrocities, it gets at the heart of the horror itself." |
Jeremy Heilman |
Splat 3.5/4 |
Show Me Love (1998) |
"Unfortunately, as the plot develops, it shies away from exploring that discontent, in favor of demonstrating precisely the kind of naiveté and sweetness that one would expect to find in any teen romance." |
Jeremy Heilman |
Tomato 3.5/4 |
Sidewalks of New York (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 1.5/4 |
Signs (2002) |
"Signs will have its admirers since its methodic nature suggests there's something profound going on beneath the surface. There really isn't though." |
Jeremy Heilman |
Splat 2/4 |
Silver City (2004) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
Sin City (2005) |
"Sin City's noir trappings are just empty attitude." |
Jeremy Heilman |
Tomato 4/4 |
Sisters (1973) |
"It's the first Hitchcock homage that Brian De Palma directed, and it’s a doozy." |
Jeremy Heilman |
Tomato 70/100 |
The Sisters of the Gion (1936) |
"It is a brief movie, which is impressive considering how much of Japanese culture its critique assults, but it must be conceded that it loses a little of its potential richness as a result." |
Jeremy Heilman |
Tomato 3/4 |
Skin of Man, Heart of Beast (2002) |
"For a debut film, Skin of Man, Heart of Beast feels unusually assured." |
Jeremy Heilman |
Tomato 50/100 |
Sleeping Dogs Lie (2006) |
"Anchored, and essentially redeemed, by a fearless performance from Melinda Page Hamilton." |
Jeremy Heilman |
Tomato 3/4 |
The Sleepy Time Gal (2002) |
"Münch's genuine insight makes the film’s occasional overindulgence forgivable." |
Jeremy Heilman |
Tomato 74/100 |
The Small Back Room (1949) |
"The Small Back Room is too good to be regarded as the curio that most currently see it as." |
Jeremy Heilman |
Tomato 4/4 |
Solaris (1972) |
"The second half of the film poses such utterly fascinating questions that any early stodginess is more than redeemed." |
Jeremy Heilman |
Splat 2.5/4 |
Some Like It Hot (1959) |
"Always manage[s] to spoil the fun with elaboration." |
Jeremy Heilman |
Splat 1/4 |
The Son (2003) |
"At the end of The Son, the audience is expected to be grateful for being shown that there exists morality among the masses, but only someone wildly out of touch with humanity would be surprised by such a conclusion." |
Jeremy Heilman |
Splat 1/4 |
The Son of the Bride (2002) |
"A perfect example of rancid, well-intentioned, but shamelessly manipulative movie making." |
Jeremy Heilman |
Splat 1/4 |
The Son's Room (2002) |
Click here to see the review. |
Jeremy Heilman |
Tomato 86/100 |
Song and Solitude (2006) |
"Like a city symphony film viewed under a microscope, Nathaniel Dorsky’s rapturous non-narrative work Song and Solitude abstracts the everyday in revelatory ways." |
Jeremy Heilman |
Tomato 3.5/4 |
Songs from the Second Floor (2002) |
"There's really only one good idea in this movie, but the director runs with it and presents it with an unforgettable visual panache." |
Jeremy Heilman |
Tomato 3/4 |
Spellbound (1945) |
"It sounds utterly schematic, but this top-notch production redeems the majority of the clichés." |
Jeremy Heilman |
Tomato 4/4 |
Spider (2003) |
"The end result oddly seems revolutionary precisely because it tosses out so much cinematic technique, achieving far more technical excitement and emotional effect that one would think possible with what seems to be such effortless direction." |
Jeremy Heilman |
Tomato 3.5/4 |
Spider-Man (2002) |
"The movie shoots for, and usually achieves a sense of giddy exuberance, but it comes at the cost of suspense." |
Jeremy Heilman |
Tomato 4/4 |
Spirited Away (2002) |
"Even the worst Miyazaki picture is a remarkable achievement, and Spirited Away is one of his better films." |
Jeremy Heilman |
Tomato 3.5/4 |
Spirits of the Dead (1969) |
"As far as psychological horror goes, the films work well, and that they realize Poe’s stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different ways." |
Jeremy Heilman |
Tomato 4/4 |
Springtime in a Small Town (2004) |
"Zhuangzhuang creates delicate balance of style, text, and subtext that's so simple and precise that anything discordant would topple the balance, but against all odds, nothing does." |
Jeremy Heilman |
Tomato 3/4 |
Spun (2003) |
"Spun is about as wild a ride as you're likely to see on screen this year." |
Jeremy Heilman |
Splat 1.5/4 |
Spy Game (2001) |
Click here to see the review. |
Jeremy Heilman |
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