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2/4 |
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A Crude Awakening: The Oil Crash (2006) |
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"You leave a viewing with a sense of utter defeat. I can envision a future DVD special edition that comes with a razor blade, to facilitate wrist slashing." | |
Geoff Pevere | |
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3/4 |
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A Scanner Darkly (2006) |
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"As fascinating and intelligent as the movie is, A Scanner Darkly leaves you wishing it might have actually been less faithful in word, and more in spirit, to Philip K. Dick's universe of bugged-out paranoid weirdness." | |
Geoff Pevere | |
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2.5/4 |
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A Stone's Throw (2006) |
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"Strong performances across the board help smooth out the bumps. A Stone's Throw is a welcome sign that environmental concerns need not be consigned to the realm of documentary film." | |
Peter Howell | |
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A.I. Artificial Intelligence (2001) |
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"The real joy of the movie for me, and why I recommend it despite everything, was watching Spielberg salute Kubrick, his friend and mentor, while at the same time defy him." | |
Peter Howell | |
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2/5 |
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Abandon (2002) |
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"The title helpfully offers the most succinct review of it you'll read anywhere." | |
Peter Howell | |
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3/5 |
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About a Boy (2002) |
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"About A Boy measures out its redemption, but it's keenly felt all the same, and very much enjoyed." | |
Peter Howell | |
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About Adam (2001) |
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"Townsend ... makes quite an impression in the title role." | |
Peter Howell | |
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4/5 |
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About Schmidt (2002) |
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"A road trip of self-discovery, by turns hilarious and poignant, for a man unexpectedly at odds with the tiny world he has so laboriously made." | |
Peter Howell | |
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1.5/4 |
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Accepted (2006) |
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"Here's the final mystery about Accepted: Why title a movie that so readily invites the headline Rejected as a critical riposte?" | |
Peter Howell | |
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1.5/4 |
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Across the Universe (2007) |
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"You'd have been better off sampling the brown acid at Woodstock than risking brain cells on Across the Universe, the bizarrely ornate nail Julie Taymor hammers into the Beatles' coffin." | |
Peter Howell | |
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2/5 |
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Adam Sandler's Eight Crazy Nights (2002) |
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"Sandler is remaining true to his own traditions, although it remains to be seen whether anyone will thank him for that once they've seen the movie." | |
Peter Howell | |
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4/5 |
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Adaptation (2002) |
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"What Adaptation nails about writing is the soul-splitting duality of it: The combination of arrogance and neediness, of ego and insecurity, of the writer's lonely inertia with the romantic grandiosity of what they create." | |
Geoff Pevere | |
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1/5 |
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The Adventures of Pluto Nash (2002) |
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"There is nothing redeeming about this movie." | |
Daphne Gordon | |
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The Adventures of Rocky and Bullwinkle (2000) |
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"The Adventures Of Rocky And Bullwinkle is yet another flawed attempt to turn an ancient TV cartoon into a contemporary live-action movie." | |
Peter Howell | |
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1.5/4 |
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Adventures of Sharkboy and Lava Girl in 3-D (2005) |
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"Shark Boy and Lava Girl have about as much appeal as a dogfish and a melting Barbie doll." | |
Susan Walker | |
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2/5 |
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After the Sunset (2004) |
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"One of the most lackadaisical Hollywood projects of the year." | |
Peter Howell | |
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2.5/4 |
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After The Wedding (2007) |
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"Even when [Bier's] movie ventures in deepest contrivance it pulls you along like a willing puppy on a gently tugged leash." | |
Geoff Pevere | |
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2/5 |
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Against the Ropes (2003) |
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"Bathos wrapped in a formulaic screenplay bolstered with cliches, not only about the boxing world but about tough women and the men who hate them." | |
Susan Walker | |
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4/5 |
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Agent Cody Banks (2003) |
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"Agent Cody Banks provides the kind of high-quality entertainment one would expect in an adult action adventure that is expected to rake in major bucks." | |
Daphne Gordon | |
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3/5 |
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Agent Cody Banks 2: Destination London (2004) |
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"Here's just about everything a 6-year-old spy would hope to find in a kiddie-espionage flick, with just a twinge of romance, but nothing serious to interrupt Cody's undoubtedly continuing career." | |
Susan Walker | |
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3/5 |
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The Agronomist (2004) |
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"A portrait of an optimist in a time of despair." | |
Peter Howell | |
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2.5/4 |
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Air Guitar Nation (2007) |
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"As dumb as the idea of grown men dressing up and pretending to play guitar may be, there's no arguing that some of these grown men do so with a truly awesome degree of energy and flair." | |
Geoff Pevere | |
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2/4 |
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Akeelah and the Bee (2006) |
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"The latest spelling bee movie is a Starbucks Entertainment product, and it has a made-to-order feel about it, kind of like a compilation album." | |
Susan Walker | |
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2/5 |
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The Alamo (2004) |
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"Although handsomely mounted, and boasting some historically immaculate dressing and impressive battle sequences, it's a movie that ultimately can't convincingly get behind the idea of sacrifice." | |
Geoff Pevere | |
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2/5 |
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Alex and Emma (2003) |
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"A movie within a movie that proves two halves don't always make a whole." | |
Peter Howell | |
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3/4 |
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Alex Rider: Operation Stormbreaker (2006) |
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"With all the charm of the early James Bond movies and all the heart-stopping chase scenes of the contemporary spy series ... Alex Rider heaves into view as a reluctant, but thrilling young spy." | |
Susan Walker | |
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1/5 |
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Alexander (2004) |
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"Not just a bad movie but a bad movie of truly epic proportions." | |
Geoff Pevere | |
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3/5 |
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Alexandra's Project (2005) |
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"It's a movie that will leave few men unrattled and many women vicariously satisfied." | |
Geoff Pevere | |
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2/5 |
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Alfie (2004) |
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"Back in the mid-1960s, Alfie Elkins was one of the reasons a women's liberation movement was necessary. Today, he's just another bad date with a surplus of personal grooming products." | |
Geoff Pevere | |
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Ali (2001) |
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"A movie that, at its best, is as brashly eloquent in cinematic expression as Ali was with his fists." | |
Geoff Pevere | |
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4/5 |
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Alias Betty (2002) |
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"While laterally propelled films like this are often exercises in structural cleverness, Miller's movie makes organic use of its incidental associations." | |
Geoff Pevere | |
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2/5 |
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Alien vs. Predator (2004) |
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"The film equivalent of a deep-fried Mars bar: an interesting combination that results in a gloppy mess." | |
Peter Howell | |
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2/5 |
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Alila (2004) |
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"It's a bit of a mess." | |
Peter Howell | |
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3/5 |
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All About Lily Chou-Chou (2002) |
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"For all of its insights into the dream world of teen life, and its electronic expression through cyber culture, the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2-hour running time." | |
Peter Howell | |
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3/4 |
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All About the Benjamins (2002) |
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"Goes a long way on hedonistic gusto." | |
Geoff Pevere | |
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2.5/4 |
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All Hat (2007) |
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"The plot is reasonably convincing, the pace tight, the laid-back score of jazz guitar and harmonica suitable to a film about country living, in which blood and gore are conspicuously absent." | |
Philip Marchand | |
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1.5/4 |
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All The King's Men (2006) |
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"All the King's Men was suspended in editing limbo for nearly a year, and the final result only makes the mind reel at what it could have been carved from." | |
Geoff Pevere | |
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All the Pretty Horses (2000) |
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"Lovely but disengaging, mysterious but uninvolving, physical but strangely remote." | |
Geoff Pevere | |
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4/5 |
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All the Real Girls (2003) |
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"Green confirms his status as the most atmospherically distinctive American movie director since Paul Thomas Anderson." | |
Geoff Pevere | |
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Almost Famous (2000) |
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"The message is as stillwater clear as it is irresistibly romantic. By virtue of its transcendent graces, music pulls us above the din of our own pettiness." | |
Geoff Pevere | |
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1/4 |
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Alone in the Dark (2005) |
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"Alone in the Dark is so awful, anyone who spends 10 bucks seeing it ought to get 11 bucks change and a written apology from the director and cast." | |
Peter Howell | |
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Along Came a Spider (2001) |
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"Gets tangled in its own web of absurdities." | |
Peter Howell | |
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2/5 |
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Along Came Polly (2004) |
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"A lighthearted, lead-footed romantic comedy of the post-Farrelly sentimental yuckfest school." | |
Geoff Pevere | |
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2/4 |
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Alpha Dog (2007) |
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"Cassavetes starts to lose the plot at the precise moment he starts keeping exact track of it." | |
Peter Howell | |
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2/4 |
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Alvin and the Chipmunks (2007) |
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"Me, I want a hula hoop." | |
Susan Walker | |
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4/5 |
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Amadeus (1984) |
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"Like the composers the film so wondrously depicts, Amadeus: Director's Cut is a divine work in need of a little earthly restraint." | |
Peter Howell | |
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4/5 |
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Amandla: A Revolution in Four-Part Harmony (2003) |
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"The sound of liberation, set to the beat of human destiny." | |
Peter Howell | |
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2/4 |
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Amazing Grace (2007) |
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"It is to be hoped that Amazing Grace is not the only, or the last, cinematic celebration of 200th anniversary of abolition, for there are more stories to tell, more imaginatively." | |
Susan Walker | |
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Amelie (2001) |
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"The sunniest face and the greatest acclaim belong to Audrey Tautou, who is new to these shores. A delight in the title role, she's like a young Audrey Hepburn, making us laugh and feel empathy without feeling manipulated." | |
Peter Howell | |
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America's Sweethearts (2001) |
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"Not so much a terrible movie as a tryingly bland one, the star-stuffed America's Sweethearts actually manages to make Entertainment Tonight seem dangerous by comparison." | |
Geoff Pevere | |
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