Tomato |
A Scanner Darkly (2006) |
"As A Scanner Darkly proves, Keanu is the Coolness -- passive blankness, leaden line delivery, and all. Let's hear it for the vague blur." |
Dana Stevens |
- |
A Tribute to Stanley Kubrick (1999) |
Click here to see the review. |
David Edelstein, Alex Ross |
Splat |
A.I. Artificial Intelligence (2001) |
"If only Spielberg's faith in movie magic weren't linked -- biochemically, it now seems -- to a lack of faith in the potential of humankind." |
David Edelstein |
Splat |
About Schmidt (2002) |
"Payne's movie is flat, depressed, and at times -- given this director's talent -- disappointingly curdled." |
David Edelstein |
Tomato |
Adaptation (2002) |
"Compare Adaptation to Woody Allen's lame Hollywood Ending, and you can see that Kaufman is Allen's true successor—formed by Allen but primed to carry the torch a little farther into the swamp of his own neuroses." |
David Edelstein |
Tomato |
Adventureland (2009) |
"Adventureland, Greg Mottola's tale of coming of age in Pittsburgh in 1987, has the note-perfect melancholy of a classic young adult novel." |
Dana Stevens |
Tomato |
Aeon Flux (2005) |
"Folks, I'll never understand studios. Aeon Flux is not that terrible. It's certainly more fun than a lot of films that get lovingly showcased." |
David Edelstein |
Tomato |
The Agronomist (2004) |
"Teeming with the profound chaos and more profound harmony of modern Haiti." |
David Edelstein |
Tomato |
Aileen: The Life and Death of a Serial Killer (2003) |
"Illuminates Wuornos' tragedy and eats into your mind." |
David Edelstein |
Splat |
The Alamo (2004) |
"This is a profoundly ahistoric movie -- a definitive Hollywood muddle." |
David Edelstein |
Splat |
Alexander (2004) |
"Seems too puny and fragmented for its mighty subject; it feels as if Stone, for the first time in his career, simply ran out of hot air." |
David Edelstein |
Splat |
Alfie (2004) |
"This is an ugly, blue-tinged movie that telegraphs every plot turn." |
David Edelstein |
- |
Alias - The Complete First Season (2001) |
Click here to see the review. |
Virginia Heffernan |
Tomato |
Alien (1979) |
"The scariest movie in history is actually a bit shy." |
Michael Agger |
Splat |
Alien vs. Predator (2004) |
"Anderson is terrible at giving us our bearings; and he's the only franchise director who fails to generate even a drop of empathy for screaming people who have aliens erupting from their chests." |
David Edelstein |
Tomato |
All About My Mother (1999) |
"It's a lovely work." |
David Edelstein |
Splat |
All The King's Men (2006) |
"It's Zaillian's overdirection that cooks this whole mess into a flavorless gumbo. He never shows you something just once when he could show it twice and never leaves a point unhammered home." |
Dana Stevens |
Splat |
Along Came Polly (2004) |
"One of those films that celebrate spontaneity and risk-taking yet are so formulaic and un-risky that they strangle their own message." |
David Edelstein |
Splat |
Amelia (2009) |
"Directed by Mira Nair and executive-produced by its star Hilary Swank, the movie seems oddly preoccupied with the audience's approval for its subject." |
Dana Stevens |
Splat |
America's Sweethearts (2001) |
"The movie is a polished muddle, fitfully amusing but with no spine." |
David Edelstein |
Tomato |
American Casino (2009) |
"As the Cockburns interview exterminators and local police about the rats' nests and meth labs that tend to proliferate in foreclosed homes, the corruption metaphor is like something out of a Nathanael West novel." |
Dana Stevens |
Tomato |
American Dreamz (2006) |
"Many of us have an American Dream: to go to the movies and laugh. The new comedy American Dreamz will fulfill that fantasy for some people." |
Michael Agger |
Splat |
American Gangster (2007) |
"What should have been a clash of two opposing moral universes instead comes off as a wan buddy flick." |
Dana Stevens |
Splat |
An American Haunting (2006) |
"It's not a true story. If lying is the latest trend in American pop culture (cf James Frey, Kaavya Viswanathan), then An American Haunting is on the cutting edge." |
Grady Hendrix |
Tomato |
American Splendor (2003) |
"Proof that ordinary guys can hold the comics, and the screen, as well as superheroes. This Halloween, I want to be Harvey Pekar." |
David Edelstein |
- |
American Splendor (2003) |
Click here to see the review. |
Jaime Wolf |
Tomato |
Amores Perros (2001) |
"Just keeps coming at you, switching characters, tones, and rhythms to keep you off-guard." |
David Edelstein |
Tomato |
An Education (2009) |
"As with first love, so with the movies: The right girl makes it all worthwhile." |
Dana Stevens |
Tomato |
Anchorman: The Legend of Ron Burgundy (2004) |
"You're not laughing at anchormen. You're laughing at formula movie rituals blown sky-high." |
David Edelstein |
Splat |
Andrew Lloyd Webber's The Phantom of the Opera (2004) |
"I'm more inclined to suggest that it be used to entertain the prisoners at Abu Ghraib and Guantanamo -- at least until Amnesty International gets wind of it." |
David Edelstein |
Splat |
Angels & Demons (2009) |
"If nothing else, Angels & Demons proves that, as McGuffins go, a cylinder of antimatter is more fun than the Holy Grail." |
Dana Stevens |
- |
Angels in America (2003) |
Click here to see the review. |
Dale Peck |
Splat |
Anger Management (2003) |
"Strenuous, spottily amusing." |
David Edelstein |
Tomato |
The Animal (2001) |
"Next to Joe Dirt, The Animal is tolerably amusing." |
David Edelstein |
Splat |
The Anniversary Party (2001) |
"I had a hard time maintaining interest in (let along liking) any of these self-involved Hollywood twerps." |
David Edelstein |
Splat |
Antichrist (2009) |
"After the infantile bludgeoning that is Antichrist), I feel no need to keep accompanying von Trier's career at all." |
Dana Stevens |
Tomato |
Anvil! The Story of Anvil (2009) |
"Anvil!'s deep kinship with Spinal Tap is more than circumstantial. Both films are, at heart, portraits of a lifelong collaboration between two musicians as dedicated as they are delusional." |
Dana Stevens |
Splat |
Apocalypse Now Redux (2001) |
"The restored footage, nearly an hour of it, has at once bloated and diluted the work we've known and half-loved, undercutting its still-astonishing strengths while making its flaws leap out with unprecedented clarity." |
David Edelstein |
Splat |
Apocalypto (2006) |
"Praising the movie's craftsmanship seems less urgent than communicating the overwhelming experience of watching it: the clammy, claustrophobic dread of being trapped in a torture chamber." |
Dana Stevens |
Splat |
Aqua Teen Hunger Force Colon Movie Film For Theatres (2007) |
"ATHF can seem brilliantly deconstructive one moment and stupefyingly boring the next -- or to provide a more accurate ratio, it can follow five brilliant seconds with five straight minutes of boredom." |
Dana Stevens |
Tomato |
The Aristocrats (2005) |
"There is a special kind of pleasure in hearing jokes that have no redeeming social value. I'd like to think that this is their social value -- an invitation to free the mind." |
David Edelstein |
Tomato |
Armageddon (1998) |
"Along with the rest of the audience, I jumped when I was meant to jump, laughed when I was meant to laugh, and swallowed a lump in my throat when I was meant to feel moved." |
David Edelstein |
Splat |
Art School Confidential (2006) |
"The movie accomplishes the simple-enough task of demonstrating that art school types are pretentious and self-centered. What it fails to reveal is why anyone should care." |
Josh Levin |
Splat |
The Assassination of Jesse James by the Coward Robert Ford (2007) |
"It's a shame that The Assassination of Jesse James, a moody epic directed by Andrew Dominik and based on the 1983 novel by Ron Hansen, never goes much deeper than that tag line." |
Dana Stevens |
Tomato |
Assisted Living (2005) |
"What gives Assisted Living its power is that the film was shot in a real home for the aged, and the patients -- with the exception of Riley's Mrs. Pearlman -- are genuine." |
David Edelstein |
Splat |
Asylum (2005) |
"Asylum is all very formal, detached, and, regrettably, sane." |
David Edelstein |
Tomato |
Audition (2001) |
"A graphic lesson in what happens when you treat women as objects, even objects of reverence." |
David Edelstein |
Tomato |
Austin Powers in Goldmember (2002) |
"It's an ode to indecent joy." |
David Edelstein |
- |
Austin Powers: The Spy Who Shagged Me (1999) |
Click here to see the review. |
David Edelstein |
Splat |
Australia (2008) |
"It's a mystery to me how Baz Luhrmann continues to be regarded as a director worth following." |
Dana Stevens |
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