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A.I. Artificial Intelligence (2001) |
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"2 hours and 24 minutes of concept stretching and heart massage, a long campaign of total manipulation." | |
David Elliott | |
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3/4 |
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About a Boy (2002) |
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"This is not major drama with major insights. But almost everyone in the film is suffering, and the laughs we get are not thoughtless." | |
David Elliott | |
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1/4 |
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About Schmidt (2002) |
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"Payne has taken a giant of American acting and awakened a midget in him -- a miserable, grumpy bore who seems to deserve his pipsqueak destiny." | |
David Elliott | |
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2.5/4 |
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Accepted (2006) |
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"The jokes are often sharp. Also, the scheme is appealing." | |
David Elliott | |
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Acts of Worship (2001) |
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"Honesty, a great virtue, is insufficient to make a good film." | |
David Elliott | |
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0/4 |
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Adam & Steve (2006) |
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"A clunky doofus, a comedy of meet-cutes and weak jokes." | |
David Elliott | |
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1.5/4 |
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Adam Sandler's Eight Crazy Nights (2002) |
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"The Hanukkah spirit seems fried in pork." | |
David Elliott | |
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3.5/4 |
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Adaptation (2002) |
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"Beyond the doubled Cage compulsion (good acting, even better tech work), the film has rich filler." | |
David Elliott | |
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The Adventures of Felix (2001) |
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"There is a sort of sun-washed gay complacency to Adventures of Felix, a streak of greeting card glibness." | |
David Elliott | |
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0/4 |
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The Adventures of Pluto Nash (2002) |
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"Despite the premise of a good story ... it wastes all its star power on cliched or meaningless roles." | |
Jerry McCormick | |
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The Adventures of Rocky and Bullwinkle (2000) |
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"The toonies get yanked into real-life scenes that leave comedy groaning." | |
David Elliott | |
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3/4 |
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After Innocence (2005) |
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"Not a special pleader but is fairly special, because Sanders gives it the pressure of straight moral conviction." | |
David Elliott | |
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2/4 |
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After the Sunset (2004) |
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"If Hitchcock's To Catch a Thief was the silk purse of travel brochure caper movies, After the Sunset is the pocket plastic disposable." | |
David Elliott | |
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2/4 |
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Against the Ropes (2003) |
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"Kallen's interesting story has been pulped, if not pulverized, as a Rocky rouser." | |
David Elliott | |
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2/4 |
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Agent Cody Banks (2003) |
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"[Muniz's] cute, was paid $2 million and should start pondering the career arc of Mickey Rooney." | |
David Elliott | |
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Agent Cody Banks 2: Destination London (2004) |
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"The menu of Saturday daytime entertainment is served a bit more sharply than by the last Spy Kids romp." | |
David Elliott | |
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3/4 |
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Aileen: The Life and Death of a Serial Killer (2003) |
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"Wuornos became, by the old standards of stark morality, evil, but was undeniably a classic victim and victimizer. Thanks to Broomfield and others, she is a sleepless night that endures." | |
David Elliott | |
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1.5/4 |
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AKA (2002) |
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"The triptych scheme underscores the basic blandness of Matthew Leitch as the hero, a cipher on the make." | |
David Elliott | |
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3/4 |
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Akeelah and the Bee (2006) |
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"The movie is sweetly enjoyable, requiring only the ABCs of simple human identification." | |
David Elliott | |
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3/4 |
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The Alamo (2004) |
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"Director and writer John Lee Hancock avoids most of the bombast and showy display of the 1960 John Wayne film." | |
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1.5/4 |
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Alex and Emma (2003) |
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"Hudson, a talent graced with special charm as Goldie Hawn's daughter, and the appealing if slightly dorky Wilson are stuck with material that feels immaterial. Almost nonexistent." | |
David Elliott | |
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1/4 |
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Alexander (2004) |
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"A spectacular mess, with no real focus or driving force." | |
David Elliott | |
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2/4 |
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Alfie (2004) |
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"What's it all about in 2004? Considerably less than in 1966, in the Michael Caine version." | |
David Elliott | |
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2/4 |
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Alias Betty (2002) |
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"Miller is playing so free with emotions, and the fact that children are hostages to fortune, that he makes the audience hostage to his swaggering affectation of seriousness." | |
David Elliott | |
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All Over the Guy (2001) |
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"So it goes, snagging every tripwire of pert banality and ditzy knowingness." | |
David Elliott | |
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2.5/4 |
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All The King's Men (2006) |
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"Lavish meandering provides more density than depth, for the one magnet of interest is Willie Stark." | |
David Elliott | |
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3.5/4 |
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All the Real Girls (2003) |
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"This is a real deal about people of interest, and filmmaker Green is truly ripening." | |
David Elliott | |
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Almost Famous (2000) |
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"Its groupie body lacks gonzo bones." | |
David Elliott | |
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1/4 |
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Alone in the Dark (2005) |
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"If you are alone in the dark with Alone in the Dark, be sure to bring chewing gum -- it will provide entertainment." | |
David Elliott | |
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Along Came a Spider (2001) |
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"The story never works on any level but the glossy, manipulative surface." | |
David Elliott | |
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2/4 |
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Along Came Polly (2004) |
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"It achieves the flavor of the commercially processed: blandly crass, inanely edgy, pointlessly bold." | |
David Elliott | |
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1/4 |
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Alpha Dog (2007) |
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"It is all so done and overdone, so regurgitated, so late-night TV and what-else-is-new-in-hell." | |
David Elliott | |
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2/4 |
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Alvin and the Chipmunks (2007) |
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"It's a free-fall into total plastic. Kids deserve better. Alvin, Simon and Theodore deserve better. But 'tis the season to take what you get." | |
David Elliott | |
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3.5/4 |
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Amadeus (1984) |
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"It captures the smack and wit of Peter Shaffer's stage play." | |
David Elliott | |
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3/4 |
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Amandla: A Revolution in Four-Part Harmony (2003) |
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"Reliably rousing." | |
David Elliott | |
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3.5/4 |
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Amazing Grace (2007) |
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"Often vulnerable, more often inspiring, Gruffudd's Wilberforce not only stirs curiosity but also quickens your conscience. As Fox notes eloquently, he was a great man. One does not have to be religious to believe he had amazing grace." | |
David Elliott | |
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Amelie (2001) |
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"A sort of anthem for airheads." | |
David Elliott | |
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America's Sweethearts (2001) |
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"Director Roth's only real nerve is in mocking excessive close-ups in the Walken 'art' travesty. His own movie is a brazen, artless parade of them." | |
David Elliott | |
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2/4 |
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American Adobo (2002) |
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"While American Adobo has its heart (and its palate) in the right place, its brain is a little scattered -- ditsy, even." | |
Arthur Salm | |
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American Beauty (1999) |
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"A sitcom with a brain, though its depth is pretty synthetic." | |
David Elliott | |
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3/4 |
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American Dreamz (2006) |
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"The topics of American Dreamz are very broad, but the targeting is often lasered." | |
David Elliott | |
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2/4 |
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American Hardcore (2006) |
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"You can come away feeling bruised and half-deaf." | |
David Elliott | |
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American Outlaws (2001) |
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"The script is juvenile and the interplay between the cast members is stale." | |
Jessica Yadegaran | |
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American Pie (1999) |
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"The movie fails as comedy, farce, coming-of-age story, showcase for young actors and commentary on anything whatsoever." | |
Arthur Salm | |
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American Pie 2 (2001) |
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"American Pie 2 is not really a movie. It's Universal Pictures playing host to its own frathouse party." | |
David Elliott | |
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American Psycho (2000) |
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"Harron achieves a remarkably razored intersection of three genres: the comedy of yupster ambition, the psycho horror thriller and the glib meditation on misogyny." | |
David Elliott | |
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An American Rhapsody (2001) |
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"Like a heartfelt synopsis of every standardized, TV-bio drama that sets your goodwill racing against boredom." | |
David Elliott | |
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4/4 |
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American Splendor (2003) |
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"A salute to the power of the urban eccentric to worm into a worthy life." | |
David Elliott | |
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1.5/4 |
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American Wedding (2003) |
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"The thing is harmless." | |
Arthur Salm | |
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0/4 |
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The Amityville Horror (2005) |
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"When characters are this stupid in a story, it's either a comedy or an insult, for asking viewers to be just as stupid in response." | |
David Elliott | |
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