Tomato 4/4 |
Tape (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3/4 |
Tarnation (2004) |
Click here to see the review. |
Jeremy Heilman |
Tomato 81/100 |
Taxidermia (2009) |
"Despite non-stop horror and perversity, nothing in the movie seems gratuitous. Its vision remains so comprehensive and convincing that it justifies everything that it puts you through." |
Jeremy Heilman |
Tomato 3.5/4 |
Tears of the Black Tiger (2000) |
"When pastiche is assembled with as much excitement as it is here, it gains distinct energy of its own." |
Jeremy Heilman |
Tomato 3/4 |
Ten (2003) |
"If Ten feels neither like a reinvention of cinema nor a truly fundamentalist attempt to get back to basics, it manages to work best as a distinctive entry in Kiarostami's diverse oeuvre." |
Jeremy Heilman |
Tomato 3/4 |
Ten Minutes Older: The Trumpet (2002) |
"A respectable collection of shorts." |
Jeremy Heilman |
Tomato 55/100 |
Tetro (2009) |
"For viewers who are willing to accept the sheer adolescence of Coppola's thematic obsessions and stylistic approach, Tetro shows plenty of questionably placed inspiration." |
Jeremy Heilman |
Tomato 73/100 |
The Texas Chainsaw Massacre (2003) |
"It might be dumbed down when compared to its predecessor, but it gains an immeasurable amount of visceral impact as a result." |
Jeremy Heilman |
Tomato 76/100 |
The Doctor's Horrible Experiment (1958) |
"By stressing the universal elements of Stevenson’s story, Renoir eradicates the creakiness of the plot, spinning the tale into something that still feels relevant." |
Jeremy Heilman |
Tomato 3/4 |
Theatre of Blood (1973) |
"It has the distinction of being perhaps the most critic-proof film ever created." |
Jeremy Heilman |
Splat 2.5/4 |
Them (2007) |
"The essentially nonexistent characterizations do little to help matters." |
Jeremy Heilman |
Tomato 97/100 |
There Will Be Blood (2007) |
"Here is a film that makes its enormous intentions abundantly clear, then follows up on them magnificently, resulting in what seems destined to become a bona fide American classic." |
Jeremy Heilman |
Splat 1.5/4 |
Thesis (1996) |
"It only manages to be startling in passing." |
Jeremy Heilman |
Tomato 4/4 |
They Shoot Horses, Don't They? (1969) |
"Endlessly negative, the movie goes out of its way to deny the audience any moments of joy, opting instead to retreat further and further into the phantasmagoric fever dreams of the exhausted group." |
Jeremy Heilman |
Tomato 79/100 |
Thieves' Highway (1949) |
"Dassin’s film emerges as a rather searing, wide-reaching indictment of the necessary evils of doing business in the United States" |
Jeremy Heilman |
Splat 1.5/4 |
Thirteen Days (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
Thirteen Ghosts (2001) |
"A high-budget spectacle of garish overkill." |
Jeremy Heilman |
Tomato 3.5/4 |
This So-Called Disaster (2004) |
"By the time the curtain rises on opening night, we are provided with what feels like a catharsis for not only the playwright and the actors, but for Almereyda too." |
Jeremy Heilman |
Tomato 4/4 |
The Three Caballeros (1945) |
"[After the] headlong launch into that abstract fantasia of color and sound, it's difficult to deny the sexual nature of its characters' pelvic thrusts and rampant phallic imagery. Clearly, this is Disney's horniest animated feature." |
Jeremy Heilman |
Tomato 58/100 |
Three Monkeys (2009) |
"It is accomplished, but overdetermined. Its dramatic force can’t its equal its visual impact, resulting in a clear indication of where Ceylan’s strengths as a director lie." |
Jeremy Heilman |
Tomato 4/4 |
Throne of Blood (1957) |
"Kurosawa’s dim view of humanity in the face of nature in Throne of Blood is reflected everywhere visually." |
Jeremy Heilman |
Splat 2.5/4 |
Through the Olive Trees (1994) |
"The third film in Iranian director Abbas Kiarostami's unofficial trilogy extends the themes present in the previous two films to the point of emotionally numbing, if intellectually admirable, redundancy." |
Jeremy Heilman |
Tomato 3.5/4 |
Tigerland (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
A Time for Drunken Horses (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 71/100 |
Time of the Wolf (2003) |
"The Time of the Wolf's portrait of a civilization gone off the tracks tests us to consider exactly how much of the way we live is taken for granted." |
Jeremy Heilman |
Tomato 3/4 |
Time Out (2002) |
"Recoing’s fantastic performance doesn’t exactly reveal what makes Vincent tick, but perhaps any definitive explanation for it would have felt like a cheat." |
Jeremy Heilman |
Tomato 3.5/4 |
Timecode (2000) |
Click here to see the review. |
Jeremy Heilman |
Splat 2/4 |
The Tin Drum (1979) |
"Schlöndorff’s treatment of this material is horribly flawed because he’s too interested in making the audience feel comfortable before he starts damning everything." |
Jeremy Heilman |
Tomato 56/100 |
To Each His Cinema (2007) |
"A better than average omnibus film." |
Jeremy Heilman |
Tomato 63/100 |
Tokyo Sonata (2009) |
"With this sudden shift in genre and ambition, Kurosawa ends up delivering his best film yet." |
Jeremy Heilman |
Splat 1.5/4 |
Tootsie (1982) |
"The politics of the film seem to be a bit out of whack..." |
Jeremy Heilman |
Splat 40/100 |
Torque (2004) |
"An expeditious ending keeps Torque from ever really wearing out its welcome, but if that's the best that can be said about it, perhaps it's better left unsaid." |
Jeremy Heilman |
Tomato 3/4 |
Tortilla Soup (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Traffic (2000) |
"All in all, it's one of the best (though not the best) films of the year." |
Jeremy Heilman |
Splat 2.5/4 |
Training Day (2001) |
"When the characters start taking obscene amounts of physical abuse and coming back for more, it manages to help you take the film’s events less seriously… something that would have helped from the start." |
Jeremy Heilman |
Splat 33/100 |
Transformers: Revenge of the Fallen (2009) |
"One can't tell if it's inspired in its attempts to find something that will draw us in or just colossally sloppy." |
Jeremy Heilman |
Splat 2.5/4 |
Transistor Love Story (2001) |
"In a final shakedown, it's the lack of conviction to the importance of its own message that keeps [it] from carrying any weight. Its considerable directorial sprightliness can't disguise its lack of a brain." |
Jeremy Heilman |
Tomato 63/100 |
A Tree Grows in Brooklyn (1945) |
"Rarely has the dream factory lavished such skill on such destitution and such insistence that people are not really that changeable in nature." |
Jeremy Heilman |
Tomato 53/100 |
Treeless Mountain (2009) |
"Kim is undoubtedly a skilled director, but she’s someone who seems more content to observe than state." |
Jeremy Heilman |
Tomato 3.5/4 |
Triad Election (2007) |
"This disturbing social order, both inside and outside the Triad, is the series’ defining characteristic. Because of its emphasis, this installment satisfies, even if another sequel feels inevitable." |
Jeremy Heilman |
Tomato 94/100 |
Tropical Malady (2005) |
"Apichatpong poetically expresses the transformative quality of love, realizing a kind of intense profundity that simply could not be reached in any other medium." |
Jeremy Heilman |
Tomato 4/4 |
Trouble Every Day (2002) |
"Ultimately, the message of Trouble Every Day seems to be that all sexual desire disrupts life’s stasis." |
Jeremy Heilman |
Tomato 3/4 |
The Trouble with Harry (1955) |
"Despite the artifice, or perhaps partly because of it, the film manages to be enjoyable." |
Jeremy Heilman |
Splat 2/4 |
Truly, Madly, Deeply (1992) |
"Truly Madly Deeply is an odd duck of a movie that never really gets off the ground." |
Jeremy Heilman |
Tomato 3.5/4 |
The Truth About Charlie (2002) |
"Fortunately, the almost tangible romantic mood and the wonderful soundtrack are more than enough to sustain the viewer through [its] mildly lumbering, more densely plotted sections. This is quite clearly one of Hollywood's top releases thus far this year." |
Jeremy Heilman |
Tomato 3/4 |
Turning Gate (2002) |
"Though it takes a while for its real emotional heft to be made apparent, [it] eventually grows into an insightful and astutely realized examination of the ways we accumulate the emotional baggage that we carry as we move through our romantic entanglements" |
Jeremy Heilman |
Splat 2.5/4 |
The Tuxedo (2002) |
"It's downright refreshing to see a farce in which the lead actors don't feel its necessary to build up some inane sense of dignity so we'll like them more... Both seem up for anything here to get a laugh." |
Jeremy Heilman |
Tomato |
Twentieth Century (1934) |
"Less a backstage farce than prototypical screwball, Howard Hawks’ brilliantly funny Twentieth Century set the stage for the subgenre that most consider the peak of American screen humor." |
Jeremy Heilman |
Tomato 3.5/4 |
Twice-Told Tales (1963) |
"Twice-Told Tales manages to retain a great deal of the literate feel of Hawthorne’s work." |
Jeremy Heilman |
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