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A Scanner Darkly (2006) |
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"Mr. Linklater emerges once again as the Austin auteur par excellence, even if A Scanner Darkly is set in a ratty precinct of Orange County." | |
Andrew Sarris | |
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A Tout de Suite (2005) |
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"Tells a seemingly familiar story, but in a daringly original manner." | |
Andrew Sarris | |
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A.I. Artificial Intelligence (2001) |
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"The most controversial conversation-piece to hit the dumbed-down American movie scene since heaven knows when." | |
Andrew Sarris | |
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A.I. Artificial Intelligence (2001) |
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"Technically dazzling yet emotionally accessible to the inner child in everyone from 9 to 90." | |
Rex Reed | |
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About a Boy (2002) |
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"In the end, the film comes over as a messy delight, thanks to the skill, generosity and good-sport, punching-bag panache of Mr. Grant's performance." | |
Andrew Sarris | |
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About a Boy (2002) |
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"That rare gem that tugs at the heartstrings with no manipulative sentimentality." | |
Rex Reed | |
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About Schmidt (2002) |
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"Both as satire and as drama, About Schmidt turns out to be a fascinating setback." | |
Andrew Sarris | |
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Adaptation (2002) |
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"Adaptation gets an A for audacity and a Z for Zzzzz..." | |
Rex Reed | |
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After Sex (1997) |
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Click here to see the review. | |
Andrew Sarris | |
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After The Wedding (2007) |
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"May be the strangest and most surprising film you’ll see this year, in that its character development runs counter to the expectations aroused by its narrative sequencing." | |
Andrew Sarris | |
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Aimee & Jaguar (2000) |
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Click here to see the review. | |
Andrew Sarris | |
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The Air I Breathe (2007) |
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"For rock-bottom nasty, with no social relevance, there is The Air I Breathe, a load of amateurish bilge so silly I thought I was watching a screening at Comedy Central." | |
Rex Reed | |
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Alex and Emma (2003) |
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"It has no tempo, energy or pulse." | |
Rex Reed | |
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Alexander (2004) |
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"At a reported cost of $155 million, Alexander qualifies as a super-spectacle in every respect but one -- namely in its neurotic, confused and sexually ambidextrous hero." | |
Andrew Sarris | |
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Alexander (2004) |
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"A lunk-headed train wreck that looks like a tag sale in a 323 B.C. supermarket in old Peking." | |
Rex Reed | |
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Alfie (2004) |
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"The original Alfie was as much overrated as the remake is underrated. Split the difference." | |
Andrew Sarris | |
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Ali (2001) |
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"It is well-intentioned, sketchy, sprawling and unremarkable. At two hours and 38 minutes, it is also long-winded and exhausting." | |
Rex Reed | |
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Alias Betty (2002) |
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"Ms. Khiberlain, Ms. Garcia and Ms. Seigner brilliantly play the three mothers like a dissonant string trio on a single theme: the varied agonies of motherhood." | |
Andrew Sarris | |
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Alice et Martin (1998) |
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"Alice and Martin is not to be missed, particularly in this endless lull of summer." | |
Andrew Sarris | |
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All About My Mother (1999) |
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Click here to see the review. | |
Andrew Sarris | |
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All or Nothing (2002) |
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"For close to two hours the audience is forced to endure three terminally depressed, mostly inarticulate, hyper dysfunctional families for the price of one." | |
Andrew Sarris | |
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All The King's Men (2006) |
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"A sorry and misguided rehash of Robert Penn Warren’s famous 1946 novel." | |
Rex Reed | |
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Almost Famous (2000) |
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"None of the non-musical components on the screen matched the excitement of the music." | |
Andrew Sarris | |
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Almost Peaceful (2004) |
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"This is a film of half-notes and nuances, and as a chronicle of emotional survival it is infinitely inspiring." | |
Andrew Sarris | |
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Alone in the Dark (2005) |
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"A violent and incomprehensible piece of gibberish." | |
Rex Reed | |
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Along Came Polly (2004) |
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"Like the rest of today's alleged comedies that are never funny, this one pretends to be hip, but lacks every semblance of intelligence and depends on the basest common instincts in the kindergarten I.Q. for laughs." | |
Rex Reed | |
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Amazing Grace (2007) |
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"Michael Apted’s Amazing Grace, from a screenplay by Steven Knight, turns out to be blessed with inspirational nobility and comic eccentricity to bring it to emotional fruition." | |
Andrew Sarris | |
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Amelie (2001) |
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"It is overwritten and overdirected for the quaint, simple feelings it attempts to project." | |
Andrew Sarris | |
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Amen (2003) |
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"An unusually riveting experience for a story with an inevitable, dismal ending." | |
Andrew Sarris | |
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Amen (2003) |
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"Flawed but unmistakably moving, Amen shines a flashlight on the darkest chapter in modern history." | |
Rex Reed | |
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America's Sweethearts (2001) |
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"Too cynically slick and emotionally shallow." | |
Andrew Sarris | |
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America's Sweethearts (2001) |
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"A boring, brain-dead flop." | |
Rex Reed | |
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American Beauty (1999) |
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"As the latest mainstream movie symptom of our premillennial malaise, American Beauty is so brilliantly acted, written, directed and visualized that for all its despondency and despair, it is a lot of fun." | |
Andrew Sarris | |
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American Dreamz (2006) |
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"[A] satirically unbalanced in its attempted fusion of such varied targets as George Bush, Karl Rove, Dick Cheney, Muslim suicide bombers, and the hosts and contestants on American Idol." | |
Andrew Sarris | |
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American Gangster (2007) |
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"One must applaud American Gangster as the kind of socko entertainment many people thought Hollywood filmmakers had become incapable of. It is not to be missed." | |
Andrew Sarris | |
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An American Haunting (2006) |
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"Call it The Exorcist Meets Poltergeist, and head for the shelves at Blockbuster, where it will undoubtedly turn up soon." | |
Rex Reed | |
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American Outlaws (2001) |
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"A big yawn that only reminds us why movie westerns are six feet under and not likely to make a comeback." | |
Rex Reed | |
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An American Rhapsody (2001) |
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"An American Rhapsody’s confident sense of time, place and emotional content is more European than American, and despite a few narrative lurches, it’s a moving experience." | |
Rex Reed | |
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American Splendor (2003) |
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"There's a tremendous amount of cultural vitality out there in the land of the losers; American Splendor is one of the first and best films to capitalize fully on this phenomenon." | |
Andrew Sarris | |
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American Teen (2008) |
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"Ms. Burstein has infused her film with an ever-rare authenticity and manages to see beyond each kid’s stereotype to the complicated screwed-up adolescent they are (and we were)." | |
Sara Vilkomerson | |
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Amistad (1997) |
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Click here to see the review. | |
Andrew Sarris | |
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The Amityville Horror (2005) |
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"A few lines get laughs, but the horror is standard fare, without a shred of innovation." | |
Rex Reed | |
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Amores Perros (2001) |
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"One of the most honored and most expertly articulated Mexican films of recent years." | |
Andrew Sarris | |
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Amu (2005) |
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"[Amu] is clearly a labor of love for the activist filmmaker, as she breaks all the traditional inhibitions of Bollywood to remind the world of -- and, for most of us, reveal for the first time -- one of the most shameful episodes in Indian history." | |
Andrew Sarris | |
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Analyze This (1998) |
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Click here to see the review. | |
Andrew Sarris | |
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Anatomy of Hell (2004) |
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Click here to see the review. | |
Andrew Sarris | |
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And Now Ladies and Gentlemen (2003) |
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"Mr. Lelouch seems to have indulged Ms. Kaas and Mr. Irons beyond any rational narrative consideration." | |
Andrew Sarris | |
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Andrew Lloyd Webber's The Phantom of the Opera (2004) |
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"My own reaction to the current version fashioned by Mr. Schumacher is one of pure stupefaction." | |
Andrew Sarris | |
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Angela's Ashes (1999) |
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Click here to see the review. | |
Andrew Sarris | |
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Anger Management (2003) |
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"Embarrassed and clueless, Mr. Nicholson is clearly slumming. As a goopy, doofus pet-clothes designer whose only talent is nostril-wiggling, Mr. Sandler comes closer to playing his real self." | |
Rex Reed | |
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