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4 Months, 3 Weeks and 2 Days (2008) |
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"Strange to long for the humorous undercurrents of the no less despondent Lazarescu and Bucharest, but perhaps making sense of the red specter requires just such a penetrating mix of solemnity and absurdity." | |
Keith Uhlich | |
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The Air I Breathe (2007) |
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"Godliness, so The Air I Breathe finally tells us, is all about the Benjamins." | |
Keith Uhlich | |
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Aliens Vs. Predator: Requiem (2007) |
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"The mechanics of it are so aggravating that by the time you get to an actual throw-down, it's all but impossible to care about how poorly lit the rumble is." | |
Rob Humanick | |
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All Quiet on the Western Front (1930) |
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"The film's centerpiece battle runs only eight minutes, yet its hellfire feels twice as long as Saving Private Ryan's D-Day onslaught." | |
Rob Humanick | |
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The Baron of Arizona (1950) |
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"The Baron of Arizona (1950) is all thumbs, as much a forgery as the one perpetrated by its protagonist James Addison Reavis (Vincent Price)." | |
Keith Uhlich | |
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Battle for Haditha (2008) |
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"Character psychology is as specious as in the Schwarzenegger canon." | |
Keith Uhlich | |
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Before I Forget (2008) |
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"[Jacques] Nolot writes, directs, and stars as Pierre Pruez, an HIV-positive bottom boy-no-longer who navigates his ruined life and beauty with aplomb." | |
Keith Uhlich | |
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Belle Toujours (2006) |
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"Drains all the mystery out of a masterpiece." | |
Keith Uhlich | |
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Berlin Alexanderplatz (1983) |
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"This Criterion release could have been entirely without features and it would still rank among the finest DVDs of the year." | |
Rob Humanick | |
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Berlin Alexanderplatz (1983) |
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"If greatness is determined less by perfection than by sheer forward thrust, I can think of few better examples than Berlin Alexanderplatz." | |
Rob Humanick | |
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Black Book (2007) |
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"One longs for Nomi Malone to enliven the proceedings with her ketchup bottle of doom." | |
Keith Uhlich | |
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Black Sheep (2007) |
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"Black Sheep takes one of nature's most decidedly non-threatening creatures and arms 'em, deliriously and deliciously, with ravenous, razor-edged teeth." | |
Keith Uhlich | |
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Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) |
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"Borat's cultural learning is revealing, even if it doesn't adequately convey how it benefits glorious nation of Kazakhstan." | |
Ed Gonzalez | |
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California Dreamin' (Endless) (2007) |
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"What surprises and delights is how complete the work feels, finished in every way aesthetically and thematically, any longueurs or asides entirely part of Nemescu's indelible emotional tapestry." | |
Keith Uhlich | |
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The Changeling (2008) |
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"[Eastwood's] overwrought excesses don’t cohere into anything like satire or analysis; they seem instead like the work of a man too passionate about his material to realize that so much of it feels so very false." | |
Matt Noller | |
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Chris & Don: A Love Story (2008) |
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"A love unique in every respect -- nothing to sniff at and forever to be treasured." | |
Keith Uhlich | |
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Chui-si Zao-wu Ai-ge (2005) |
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"A literalist's portrait of apocalypse." | |
Keith Uhlich | |
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The Darjeeling Limited (2007) |
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"A highly flawed personal vision, containing what the Screenwriter 101's among us would deem various and sundry "third act problems."" | |
Keith Uhlich | |
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The Dark Knight (2008) |
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"Now you see it, now you don't." | |
Keith Uhlich | |
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Dark Matter (2008) |
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"Meryl Streep guest stars on a special episode of Sunrise Earth, doing Method Tai Chi while heavenly chorines, chanting in Hollywood Sanskrit, bemoan the eternal tragedy of man." | |
Keith Uhlich | |
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The Diving Bell and the Butterfly (2007) |
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"The Sea Inside by way of Lady in the Lake." | |
Keith Uhlich | |
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Eat, For This Is My Body (2008) |
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"A true, unadulterated trip into a most unique subconscious." | |
Keith Uhlich | |
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Elizabeth: The Golden Age (2007) |
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"An extended game of 16th-century Barbie." | |
Keith Uhlich | |
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Exterminating Angels (2007) |
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"The beauties of Brisseau's movies lie in their defiantly messy imperfections: pretty poison all the way." | |
Keith Uhlich | |
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Face to Face (1976) |
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"Cries out for Madeline Kahn to step in, cigarette in hand, and inquire, "Phallic-un zymbol?"" | |
Keith Uhlich | |
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Faithless (2001) |
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"This could be a regretful remembrance of things past on the part of "Bergman" or it could be a pure fiction torn from the ether." | |
Keith Uhlich | |
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The First Films of Samuel Fuller (1949-1951) |
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"Tempting as it is to describe Samuel Fuller as the cinema's brute poet, the three films included on "The First Films of Samuel Fuller" encourage a more multifaceted reading." | |
Keith Uhlich | |
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Flags of Our Fathers (2006) |
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"The film is confirmation of Paul Haggis's predilection for exploitation and easy sentimentality." | |
Ed Gonzalez | |
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The Gates (2007) |
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"The Gates only reinforces my ambivalence toward the vérité stylings of co-director Albert Maysles." | |
Keith Uhlich | |
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George A. Romero's Diary of the Dead (2008) |
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"The most labyrinthine and multifaceted of Romero's Dead films." | |
Keith Uhlich | |
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Ghost Rider (2007) |
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"Director Mark Steven Johnson is infinitely less concerned with exploring Blaze's smoldering, soul-deprived isolation than he is infatuated with the character's skull-'n'-bones imagery." | |
Rob Humanick | |
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The Happening (2008) |
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"Only half good cinema, seemingly the result of its maker's stunted belief/determination in both himself and his audience." | |
Rob Humanick | |
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I Am Legend (2007) |
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"A film capable of more, settling for less." | |
Rob Humanick | |
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I Shot Jesse James (1949) |
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"Fuller goes deeper into his protagonist's tortured psyche, uncovering a sublimated sense of love that only finds expression as climax to his death rattle." | |
Keith Uhlich | |
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The Incredible Hulk (2008) |
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"Sound and fury signifying nothing, indeed." | |
Rob Humanick | |
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Indiana Jones and the Kingdom of the Crystal Skull (2008) |
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"Whichever way we go, we have to always, always be looking." | |
Keith Uhlich | |
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Indiana Jones and the Last Crusade (1989) |
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"Now only twilight and sunset. Illumination fades; the self annihilates in silhouette. And all (father, son, and spirit) is one." | |
Keith Uhlich | |
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Inland Empire (2006) |
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"The film is a detailed analysis of Nikki's creative process, of her struggle towards that transcendent point where her art... only connects." | |
Keith Uhlich | |
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Jones (2007) |
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"He'll always be coming and going." | |
Keith Uhlich | |
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Jumper (2008) |
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"So lazily assembled and unenthusiastically performed that it could very well be an alternate cut of itself, assembled from takes that were justly consigned to the cutting room floor." | |
Rob Humanick | |
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Lady Chatterley (2006) |
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"A summa cum laude graduate of the Merchant-Ivory school of Classics Illustrated." | |
Keith Uhlich | |
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Letters From Iwo Jima (2006) |
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"In Letters, the glossy romanticism of history crumbles before our very eyes." | |
Rob Humanick | |
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Live! (2007) |
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"So spake that prescient philosopher Julie Brown: "Just be vague, there's nothing to it."" | |
Keith Uhlich | |
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The Man from London (2007) |
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"Moral rot captured with religious fervor." | |
Keith Uhlich | |
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Married Life (2008) |
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"Screens within screens, frames within frames -- that's the simplest way of approaching Married Life's allusive/elusive roundelay." | |
Keith Uhlich | |
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4/4 |
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Miami Vice (2006) |
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"In retrospect it is clear that the rapturous Miami Vice is the work Mann has been building to." | |
Keith Uhlich | |
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Mother of Tears (2008) |
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"Both the body and the body politic are under attack in Mother of Tears." | |
Keith Uhlich | |
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Un Mundo Maravilloso (2008) |
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"Estrada's most incendiary proposition: that God is, at heart, a hoi polloi construct, a buffer and security blanket that damagingly keeps the world's many harsh realities at bay." | |
Keith Uhlich | |
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Munyurangabo (2007) |
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"For a while, the film concerns itself with the everyday, so much so that the thread of revenge ... seems to be buried under the mere fact of eking out a living." | |
Keith Uhlich | |
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-- |
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The New World (2005) |
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"Charting The New World" | |
Keith Uhlich | |
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