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(2005) |
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"[A]dapted ... by Deborah Moggach and directed by Joe Wright with as much feel for what it means to be a novel as any adaptation of one I can think of."
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(1994) |
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"[Judy Davis and Kevin Spacey] play this strident high comedy duet with a self-sustaining brio that easily puts them on the level of the stars of Twentieth Century, The Awful Truth, The Philadelphia Story, and His Girl Friday."
[movie review] |
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(2005) |
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"[The mesmerizingly instinctual] Phoenix can't make lyric art of Cash's songs, but he can make performance art of the moment in which he sings them."
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(2005) |
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"[W]hatever advantage the moviemakers gain from their knowing detachment [from their impish, narcissistic protagonist] is discounted by the fact that they take for granted the greatness of In Cold Blood."
[movie review] |
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(2005) |
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"[A] polluted oasis for refugees from 'positive,' heartwarming, family-friendly entertainment."
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(1999) |
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"The whole thing is beyond purple and yet so careful and reverent you can't even enjoy it as camp."
[movie review] |
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(2005) |
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"Victorian melodrama in feminist workduds."
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(2005) |
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"Good Night, and Good Luck. isn't memorable, even in the short run, because it creates a desire for information that Clooney has no intention of fulfilling."
[movie review] |
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(2005) |
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"[A]n infantile fantasy ... of not just being daddy's favorite but being chosen, by some mysterious power, to inherit his gift."
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(1938) |
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"[R]epresents Hitchcock's work at its most charming.... [T]he suspense is tonic rather than truly frightening, and almost comically glamorous."
[movie review] |
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(2005) |
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"The makers of Flightplan have trimmed all the meat off The Lady Vanishes as if it were fat and served us the bone."
[movie review] |
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(2005) |
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"Fellowes is so committed to the artistic means of naturalism, and so judicious, that his work is absorbing in a way that movies of broader scope almost never are."
[movie review] |
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(2005) |
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"Heedlessly drawn to Eiko ... Tony takes a step onto spiritually hollow ground and falls through.... That's what this kind of ironic protagonist does, from Adam on down...."
[movie review] |
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(2005) |
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"Niccol squeezes his cartoonish irony for pathos, as if retelling Superman from the dark side but softening it to make us lament, 'Poor Lex Luthor. Poor, lost Lex Luthor'."
[movie review] |
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(2005) |
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"The political ambitions of le Carré and ... Meirelles are quite insistent, but the story feels like a story, not like the truth—it's both far-fetched and predictable."
[movie review] |
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(1973) |
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"[A]n anti-epic about European conquest that, while based in part on ... an ill-fated historical expedition, is as macabre as a Poe story."
[movie review] |
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(2005) |
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"Herzog, who remains immune to Treadwell's projections and to his self-regard, works here as a poet of the first order [in Ruskin's hierarchy]."
[movie review] |
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(2005) |
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"[A] dream visit to the zoo. You aren't actually there, but you couldn't see more than this movie shows you if you were."
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(2005) |
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"[Roos']s writing is facile--he needs actors like Kudrow and Gyllenhaal to give his work depth and texture, and he seems to sense it without jealousy."
[movie review] |
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(2005) |
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"Whether the scenes add up to anything or not, however, Duris holds the screen like a natural."
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(2005) |
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"The perennial golden touch in Hollywood is to make old stories seem new. In Mysterious Skin [writer-director Gregg] Araki "achieves" the opposite."
[movie review] |
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(2003) |
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"The dramatic scheme is to show how two people ... intersect "tragically," but what we see is a group of characters who act as wrongheadedly and intransigently as imaginable."
[movie review] |
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(2005) |
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"The L.A. of Crash is a distorted scale model of the city that [writer-director Paul] Haggis treats as if it were the city itself."
[movie review] |
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(1969) |
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"I doubt such an unrelenting challenge to the Christian faith, in both its substance and its expression, has ever been made in a more easygoing fashion."
[movie review] |
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(1961) |
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"The man who made Los Olvidados believes in ... reform. In Viridiana he more fully, and comically, acknowledges the immense hurdles to reform set up by human corruption."
[movie review] |
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(2005) |
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"[If Solondz isn't] having fun relating Aviva's determinedly depressive misadventures then what has he invited us into the theater for?"
[movie review] |
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(2005) |
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"[I]f you go for the dimensionless, porny style, hey, unbuckle and enjoy."
[movie review] |
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(2005) |
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"[T]he movie approaches us as if we were both a primitive religious congregation and a benumbed action-picture audience, in either case a group in need of shocks."
[movie review] |
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(2005) |
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"[L]ike Leaving Las Vegas, The Upside of Anger provides a galvanizing turn for its star--a daring alloy of pungent misery and jaw-dropping antics."
[movie review] |
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(2005) |
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"[A]n epic without an epic hero, an epic of deserved defeat."
[movie review] |
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(2004) |
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"The movie is slight but in a way that makes it the opposite of pushy; it's companionably easy to laugh with."
[movie review] |
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(1998) |
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"When his instincts are just right Kore-eda has both the perfect technique and the perfect touch for suggesting (without explicitly defining) the immanence of human experience."
[movie review] |
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(2005) |
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"[Kore-eda has developed]a paradoxically quiet expressionistic technique, a virtuosic way to make the audience feel as if we were observing without intruding."
[movie review] |
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(2001) |
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"Swank's honest mistake is in trying to be worthy of a project that's beneath her."
[movie review] |
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(2004) |
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"Hilary Swank [deserves] an award in a new category for the most winning performance in the movie I'm least likely to watch again."
[movie review] |
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(2004) |
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"Finding Neverland moved me at times but didn't transport me, either to Edwardian London in the first instance, or from there to Neverland."
[movie review] |
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(2004) |
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"[The love story] between the two young, uncorrupted stars suffuses the entire movie and has made me forgive, if not forget, the movie's flaws."
[movie review] |
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(2004) |
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"No movie directed by Martin Scorsese has ever felt more like work for hire."
[movie review] |
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(2004) |
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"Writer-director Bill Condon has come up with a nifty ironic conception of Alfred Kinsey, his sex-researcher hero."
[movie review] |
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(2004) |
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"Some of the performances of Ray Charles's greatest hits send you right over the void at the center of the movie."
[movie review] |
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(2004) |
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"When I say that I would happily watch Cheadle and Okonedo in anything ... I don't mean more movies like Hotel Rwanda."
[movie review] |
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(2001) |
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"Linklater's most visually distinctive movie, with exquisitely detailed renderings ... that are at the same time unstable, floaty, in a way perfect for a dreamed reality."
[movie review] |
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(2004) |
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"[A]n experiment can be valuable without being successful."
[movie review] |
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(2004) |
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"It's hard to make a good film noir if you're uncomfortable with your audience's corruptibility."
[movie review] |
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(2004) |
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"You can't get much more Hollywood than a movie about a performer in which success is synonymous with quality."
[movie review] |
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(2004) |
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"Marston has made an amazingly lean debut feature.... But everything he trimmed wasn't fat."
[movie review] |
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(2004) |
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"[T]he sense of wonder Yimou strains for would be seriously hampered by his lack of humor even if he were one of the great stylists of movie history."
[movie review] |
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(2004) |
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"[T]his can't be called naturalism ... Vera has to represent the bad medicine that fills the gap for low-income women, the bad medicine that results inevitably from bad law."
[movie review] |
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(2004) |
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"When a director's "primitive" style is as developed as Maddin's, your aesthetic response can seem like all the emotion you need, his thrill your thrill."
[movie review] |
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(2004) |
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"[Y]our expectations of climax, resolution, consolation fall away and you're quite simply present in every detail of every moment."
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