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4/4 |
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About a Boy (2002) |
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"Hugh Grant affirms his position as this century's answer to Cary Grant." | |
James Sanford | |
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4/4 |
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After Hours (1985) |
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"a comedy that's both uproariously funny (often in a most uncomfortable way) and deeply disturbing at the same time." | |
James Sanford | |
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3.5/4 |
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Alice (1990) |
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"Farrow relishes the opportunity to play everything from a timid, guilt-racked housewife to a sultry amoral siren, who does everything short of attacking her victim..." | |
James Sanford | |
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Along Came a Spider (2001) |
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"so hell-bent on surprising us that it's willing to sacrifice just about anything -- logic, credibility, common sense, etc. -- in the hopes of catching the audience off-guard." | |
James Sanford | |
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1.5/4 |
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Armageddon (1998) |
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"breathless and utterly brainless... makes the similarly themed and much more sentimental 'Deep Impact' look like 'Schindler's List' by comparison." | |
James Sanford | |
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The Avengers (1998) |
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"the film plays like some sort of feverish hallucination with no real logic or continuity. ... your only chance this week to see Uma Thurman attacked by a giant teddy bear." | |
James Sanford | |
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Bring It On (2000) |
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"sassy fun, with a script by first-time screenwriter Jessica Bendinger that's almost shockingly sophisticated for a film destined to play almost exclusively to teens." | |
James Sanford | |
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2.5/4 |
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Bug (2007) |
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"All of the actors find the right rhythm... But even the performers' complete commitment can't entirely disguise the fact that 'Bug' doesn't seem to belong on the big screen." | |
James Sanford | |
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The Butcher Boy (1997) |
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"The filmmakers chronicle Francie's journey in a stream of colorful, dreamy visuals, and too often ``Butcher Boy'' engages the eye rather than the heart." | |
James Sanford | |
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1.5/4 |
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The Butterfly Effect (2004) |
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"a twisted tale that incorporates child pornography, a dog being set aflame, a mother and baby being blown to smithereens by an exploding mailbox...oppressively unpleasant" | |
James Sanford | |
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Career Girls (1997) |
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"develops into an insightful meditation on the nature of friendship, as well as a peek into the psyches of two people who think they've dealt with the past but have actually only pushed it aside." | |
James Sanford | |
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4/4 |
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Cinema Paradiso (1989) |
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"an enchanting, sweeping look at post-WWII life, real and reel. It's set mostly in a small Italian village, but the characters, situations and changes it depicts are universal." | |
James Sanford | |
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The Core (2003) |
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"there's no logical reason to recommend 'The Core.' Still, it must be said it certainly goes out of its way to keep your pulse pounding and your ears ringing" | |
James Sanford | |
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Coyote Ugly (2000) |
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"Gina Wendkos' screenplay manages to make "Flashdance" seem plot-heavy by comparison. ...we see the lovely faces of Perabo, Miko and Moynahan and the swinging hips and stomping feet of three anonymous dance doubles." | |
James Sanford | |
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4/4 |
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Cyrano de Bergerac (1990) |
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"From the opening scene in which he takes on a theater full of pretentious actors to the grand tearjerking finale, Cyrano is always the center of attention, and Depardieu, full of wit, bravado and passion, rises to the challenge." | |
James Sanford | |
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Double Indemnity (1944) |
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"For the generation that grew up thinking of MacMurray as the kindly father-figure on "My Three Sons" and Stanwyck as the regal matriarch of "The Big Valley," it's a jolt to see them playing such devious, money-hungry types." | |
James Sanford | |
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Duets (2000) |
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"A strange combination of road movie, sitcom and "Razor's Edge"-style philosophical drama, "Duets" looks at six unhappy people who are brought together by their love of karaoke. Yes, karaoke." | |
James Sanford | |
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E.T. The Extra-Terrestrial The 20th Anniversary (2002) |
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"If you haven't seen the film lately, you may be surprised at the variety of tones in Spielberg's work. Much of it is funny, but there are also some startling, surrealistic moments..." | |
James Sanford | |
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The Edge (1997) |
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"A few scattered profanities, a couple of gory accidents and a subplot about suspected adultery are all that separates this story from the grade-school classic "My Side of the Mountain."" | |
James Sanford | |
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Everyone Says I Love You (1997) |
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"in Allen's sweaty palms, "Everyone" often strains itself trying to entertain. Even when the movie hits its mark, you're usually aware of how much work it took to get there." | |
James Sanford | |
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Flubber (1997) |
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"Almost everyone in the cast seems to realize they're here purely to kill time between special-effects sequences and the tiresome slapsticky antics served up by screenwriter John Hughes." | |
James Sanford | |
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2/4 |
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Freddy vs. Jason (2003) |
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"prototypical teen slasher fare, with ultra-gory deaths, overwrought performances and even some gratuitous T&A: Were it not for a Columbine reference and a half-baked rave, you might guess this was actually made 20 years ago." | |
James Sanford | |
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Gangs of New York (2002) |
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"While Scorsese's bold images and generally smart casting ensure that "Gangs" is never lethargic, the movie is hindered by a central plot that's peppered with false starts and populated by characters who are nearly impossible to care about." | |
James Sanford | |
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Gattaca (1997) |
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"a smart, beautifully crafted piece of not-so-science-fiction that manages to successfully mix social commentary and suspense into a generally enthralling story." | |
James Sanford | |
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3.5/4 |
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Ghost (1990) |
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"a deft blending of comedy and suspense, with some impressive special effects that are incorporated into the film instead of being the center of it." | |
James Sanford | |
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0/5 |
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Ghost Dad (1990) |
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"dismal... There's more preachiness here than in a hundred 'ABC Afterschool Specials,' and the special effects wouldn't pass muster on a local kiddie show." | |
James Sanford | |
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0/5 |
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Ghosts Can't Do It (1990) |
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"manages to top even such masterworks of schlock as (the Dereks') earlier 'Bolero,' 'Fantasies' and their perversion of 'Tarzan the Ape Man' for sheer artistic ineptitude." | |
James Sanford | |
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The Good Girl (2002) |
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"often extremely funny -- it's like a vintage Sally Field movie reshot by
some twisted minds..." | |
James Sanford | |
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3.5/4 |
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Green Card (1990) |
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"The story could have been turned into a plastic sitcom, but ... the crackling chemistry between Depardieu and MacDowell gives it considerable charm." | |
James Sanford | |
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2/4 |
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The Handmaid's Tale (1990) |
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"Harold Pinter's adaptation has its powerful moments, but ultimately the narrowing of the novel's scope dilutes the story's message too much." | |
James Sanford | |
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Hercules (1983) |
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"one of the few male 'jiggle' movies in recent memory, it's all silly to the nth degree and dares to utilize special effects tricks that redefine the word 'tacky.'" | |
James Sanford | |
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3/4 |
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I Love You to Death (1990) |
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"director Lawrence Kasdan and a superb cast engage in what seems like a working vacation. The fun is infectious, and the result is a slight but highly entertaining comedy of errors." | |
James Sanford | |
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I, Robot (2004) |
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"Bad 'bots, bad 'bots, what ya gonna do?" | |
James Sanford | |
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Ice Age (2002) |
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"Director Chris Wedge and screenwriters Michael Berg, Michael J. Wilson and Peter Ackerman create some episodes that rival vintage Looney Tunes for the most creative mayhem in a brief amount of time." | |
James Sanford | |
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Isn't She Great (2000) |
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"gives its heroine all the rough edges of a throw pillow... Susann couldn't write sentiment convincingly and neither can Rudnick." | |
James Sanford | |
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Kiss the Girls (1997) |
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"like a good-looking blind date who promises dinner and a movie, then takes you to Burger King and "Wishmaster," the spell dissipates quickly, leaving you feeling seduced and abandoned." | |
James Sanford | |
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The Last Days of Disco (1998) |
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"The performances by the entire ensemble are delightful, with Beckinsale and Keeslar particularly impressive. Of course, it helps that they get most of the sharpest lines." | |
James Sanford | |
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2.5/4 |
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A Life Less Ordinary (1997) |
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"little more than a string of set-pieces... (but) the movie looks and sounds fabulous, thanks to Boyle's sharp eye and a soundtrack featuring everyone from Underworld to Elvis." | |
James Sanford | |
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0/5 |
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The Lonely Lady (1983) |
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"a poorly acted, ineptly made and nearly incoherent piece of garbage that can't even properly exploit its star, which would seem to be the primary reason for its existence.
" | |
James Sanford | |
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0/5 |
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The Man Who Wasn't There (1983) |
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"It's hard to know where to begin in talking about what exactly is wrong with 'The Man Who Wasn't There' because there's really nothing right with it." | |
James Sanford | |
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0/5 |
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The Master of Disguise (2002) |
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"so misconceived on every level, it's almost fascinating to watch. If you don't mind pain, that is. This movie knows how to make you hurt..." | |
James Sanford | |
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Must Love Dogs (2005) |
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"Let me tell you: Having my feet scraped with a scapel and rubbed down with acid by my podiatrist was more enjoyable than sitting through this miserable film." | |
James Sanford | |
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3/4 |
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Ocean's Twelve (2004) |
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"Like 'casual day' at the office, 'Ocean's Twelve' is not exactly cause for celebration, but it's a pleasant break from the norm.
" | |
James Sanford | |
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Oscar and Lucinda (1997) |
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"a beautifully observed, wildly unpredictable period piece that's part bittersweet comedy, part adventure and altogether enchanting." | |
James Sanford | |
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Passion of Mind (1999) |
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"Sometimes, with its candlelit castles and love scenes played out in spacious antique bathtubs, "Passion" seems less like a movie than it does a glossy catalog spread out all over the big screen." | |
James Sanford | |
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1.5/4 |
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The Sheltering Sky (1990) |
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"Soul searching is rarely a thrill a minute but it's rarely as tedious as this. ...Oscar-bait it may be, but "The Sheltering Sky" is more deserving of the First Annual Chicken Little Award." | |
James Sanford | |
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The Sisterhood of the Traveling Pants (2005) |
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"A difficult movie to hate -- even if you're not a female between the ages of 14 and 18..." | |
James Sanford | |
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4/4 |
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The Sound of Music (1965) |
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"established Julie Andrews as a major international movie star. Her radiance and energy fills the screen in scene after scene. She's absolutely magnetic..." | |
James Sanford | |
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3.5/4 |
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Strapless (1990) |
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"continues Hare's salute to fascinating, challenging women. ...The situations will ring true to anyone who has ever placed their faith in the wrong person or wrote off someone who later made a surprising comeback." | |
James Sanford | |
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2.5/4 |
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Sweet Dreams (1985) |
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"Jessica Lange plays Cline and gives her friskiest, most intriguing performance to date." | |
James Sanford | |
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