Tomato 72/100 |
A l'aventure (2009) |
"The tenderness that À L'aventure discovers as it stares into the void might be its most radical gesture of all." |
Jeremy Heilman |
Splat 2/4 |
Abandon (2002) |
"[Its] failure becomes most obvious in retrospect, when the realization dawns that the most affecting, inventive, and honest moments of the film were those that hewed most closely to the original text." |
Jeremy Heilman |
Splat 2.5/4 |
About a Boy (2002) |
"You can’t help but shake the feeling that you were having more fun with the old, sarcastic, lying Will." |
Jeremy Heilman |
Tomato 3.5/4 |
About Schmidt (2002) |
"About Schmidt treads a fine line between glib and profound, between comic and sad, but in doing so shows the audience that it's usually easier to laugh at someone than it is to take a hard look at them." |
Jeremy Heilman |
Tomato 50/100 |
The Act of Seeing with One's Own Eyes (1971) |
"In adding a literal deconstruction of man to the metaphorical one that graces so many works of art, Brakhage has created with Act the ultimate horror film, for better or worse." |
Jeremy Heilman |
Splat 2/4 |
Adaptation (2002) |
"[Its] failure becomes most obvious in retrospect, when the realization dawns that the most affecting, inventive, and honest moments of the film were those that hewed most closely to the original text." |
Jeremy Heilman |
Splat 1.5/4 |
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984) |
"Buckaroo Banzai seems stranded in an alternate dimension where films don’t need to have a solid perspective to exist." |
Jeremy Heilman |
Splat 41/100 |
The Aerial (2007) |
"Both less inventive and less substantial than it seems to think it is, this would-be epic suffers from the comparisons it prompts as it references a series of silent classics." |
Jeremy Heilman |
Tomato 4/4 |
The Age of Innocence (1993) |
"Thanks to Scorsese's directorial prowess, the film completely immerses the viewer." |
Jeremy Heilman |
Splat 2.5/5 |
Aileen: The Life and Death of a Serial Killer (2003) |
"Broomfield frequently seems as willing as his subject to indulge in conspiracy theories and there often exists the queasy hunch that his interest in her feeds her sickness." |
Jeremy Heilman |
Tomato 3/4 |
Aimee & Jaguar (2000) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Alexander (2004) |
"It occasionally fumbles and it sometimes feels downright hokey, but it cumulatively earns a feeling of gravity and reverence that fully justifies its extended running time." |
Jeremy Heilman |
Splat 1/4 |
Alexandra's Project (2005) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Ali (2001) |
Click here to see the review. |
Jeremy Heilman |
Tomato 3.5/4 |
Alice (1988) |
"At once far more faithful to its source material than the popular Disney version, and farther from it in tone than one might ever imagine." |
Jeremy Heilman |
Splat 3/4 |
Alice et Martin (1998) |
"Binoche’s character is sketchily drawn. Although she gives an admirable, unshowy performance, her role is underwritten, with the script frequently using her as the engine that propels the plot." |
Jeremy Heilman |
Tomato 59/10 |
Alien Prey (1977) |
"Starting out as a seemingly predictable creature feature, Prey soon twists expectations, morphing to become a most unlikely chamber drama." |
Jeremy Heilman |
Tomato 3/4 |
All About Lily Chou-Chou (2002) |
"Perhaps no greater example yet exists of the beauty achievable when one is a master of the digital aesthetic." |
Jeremy Heilman |
Tomato 3.5/4 |
All or Nothing (2002) |
"Even as All or Nothing doesn't fail, it pales in comparison with the best of Leigh’s work, but all the same it's well worth seeing." |
Jeremy Heilman |
Tomato 3.5/4 |
All That Heaven Allows (1955) |
"Sirk’s film is filled with such satirical barbs at the American rat race, and horrifyingly enough, most of his attacks feel unusually prescient." |
Jeremy Heilman |
Splat 2.5/4 |
All Tomorrow's Parties (2003) |
Click here to see the review. |
Jeremy Heilman |
Tomato 4/4 |
Almanac of Fall (1983) |
"Throughout, Tarr seems exasperated by the capacity of each to believe that they are justified in their machinations, and in his inability to accept their individual actions, he seems to be expressing disgust and outrage at all of society." |
Jeremy Heilman |
Splat 1.5/4 |
Amelie (2001) |
Click here to see the review. |
Jeremy Heilman |
Splat 41/100 |
American Gangster (2007) |
"With all of the bulk, but none of the substance, of your average epic production, American Gangster lumbers across the screen with such obviousness that it is almost shocking." |
Jeremy Heilman |
Tomato 3/4 |
An American in Paris (1951) |
"The feeling of escapism that it generates quickly fades away." |
Jeremy Heilman |
Splat 44/100 |
American Splendor (2003) |
"Casting itself at first as an antidote to the overly sentimental strains of Hollywood melodrama, it succumbs to formula and a facile treatment of its hero's fight with cancer." |
Jeremy Heilman |
Tomato 3.5/4 |
Amores Perros (2001) |
"The stories never come together in a way that really enlightens, but that's not to say the film is anything less than entertaining." |
Jeremy Heilman |
Tomato 71/100 |
Anatomy of Hell (2004) |
"It might not be a film that can be taken too literally, that doesn't mean it shouldn't be taken seriously." |
Jeremy Heilman |
Tomato 4/4 |
And Then There Were None (1945) |
"One of the supreme suspense films." |
Jeremy Heilman |
Tomato 4/4 |
Andy Warhol's Flesh (1968) |
"By comparison to the aimless young adults of Flesh, the troubled teens in any given Larry Clark film seem downright motivated." |
Jeremy Heilman |
Tomato 2.5/4 |
Angel Eyes (2001) |
"Lopez has great lips for pouting, and this somber script gives her ample opportunity to flex those skills." |
Jeremy Heilman |
Tomato 82/100 |
Antichrist (2009) |
"By turns provocative, repulsive and downright elemental, it churns with such a surfeit of unresolved energy that it's likely to leave viewers dazed and confused by the end of its assault." |
Jeremy Heilman |
Tomato 68/100 |
Anything Else (2003) |
"Anything Else is easily one of the funniest movies of the year." |
Jeremy Heilman |
Tomato 3.5/4 |
Arabian Nights (1974) |
"Pasolini's Arabian Nights succeeds mostly because it never assumes neither frank carnality nor flights of fancy are beneath us." |
Jeremy Heilman |
Tomato 3.5/4 |
Ashes of Time (1994) |
"Even those that can't quite follow its plot should enjoy the fleeting pleasure that Wong's gorgeous images and frenetic editing provide." |
Jeremy Heilman |
Tomato 69/100 |
Ashes of Time Redux (1994) |
"Viewing it on the big screen, with a blaring soundtrack, only amplifies the director's singular achievement." |
Jeremy Heilman |
Tomato 3/4 |
Auto Focus (2002) |
"If [it] fails to be the truly great statement that it obviously yearns to be, it can't be faulted much for trying, since most of its failures on that account arise from its desire to remain honest about its subject's limitations." |
Jeremy Heilman |
Tomato 4/4 |
Autumn Sonata (1978) |
"A stunningly accomplished chamber drama from Ingmar Bergman." |
Jeremy Heilman |
Splat 25/100 |
Away We Go (2009) |
"It explains that the world is broken and dares you to agree that it's honest. It promises engagement, but delivers only retrenchment." |
Jeremy Heilman |
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