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RATING |
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(2002) |
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"[Y]ou laugh with a growing sense of dread because it makes you feel what it's like to realize it's too late to help yourself."
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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."
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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."
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(2004) |
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"A straight shot of that good stuff."
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(2005) |
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"Towne has a perhaps unique ability to make this ill-fated movie romance classically seductive while doing full justice to its authentic subject. [His] canniness as a writer and casual sophistication do wonders for the actors."
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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."
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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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(2002) |
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"Bloody Sunday demonstrates an historical thesis formulated in retrospect, which fits oddly with Greengrass's continuous-present technique."
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(2006) |
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"It's theatrical genius: Cohen has devised a split-level act in which being hooked off the stage by his in-the-movie audience makes for success with his at-the-movie audience."
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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."
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(2004) |
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"Marber looks at farcical giddiness with a hard-won sobriety.... Closer is a voguish farce that, rather than making you wish you were like the characters, makes you wish that you hadn't been."
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(2009) |
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"[The moviemakers'] straightforwardness about ... sexual relationships is beyond refreshing[,] ... as if sugarcoating were chemically impossible."
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(2006) |
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"The movie gains life entirely from the interplay among the actors, and both of the young stars are wonderful."
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(2004) |
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"The intentional overwriting and unmodulated acting, the over-the-top and under-the-skirts naughtiness, make A Dirty Shame arguably Waters's funniest movie."
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(2005) |
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"[A]n epic without an epic hero, an epic of deserved defeat."
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(2006) |
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"I could have happily sat through the first half a second time, though I was barely able to sit through the second half once."
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(1996) |
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"[Marge is] a good cop because everything abnormal stands out like a stain against her white-on-white sanity.... [H]er incomprehension [of criminality] is not only her strength as a detective, it justifies the deadpan style of the movie."
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(2006) |
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"No depiction of the extermination camp experience of an individual has ever been so large; it verges on the ecstatic."
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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."
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(2002) |
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"[A]s in soap opera, drama is synonymous with the torments of love. Hayek is a brave, tireless performer, ... but given the script she can only play Kahlo the "beguiling personality" she liked to think of herself as ... rather than Kahlo the artist."
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(2006) |
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"[Maggie] Gyllenhaal ... slips into character with greater ease than any other young American actress now in the movies."
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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]."
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(1949) |
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"Guilty of Treason is a B-movie, budget and soul, and yet its political judgments are grounded in an accurate journalistic evaluation of a deplorable reality."
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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."
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(1972) |
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"Sometimes it seems that nobody ever has any idea what it is he's chasing after, and so the chase never ends.... It's a good day when you can laugh about it, which is what The Heartbreak Kid lets you do."
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(2004) |
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"Yimou's work here is absorbing and fleet, and all the actors score ... but I would be more careful than most critics have been not to oversell it."
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(2006) |
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"[Covering] the same period of the author's life as Bennett Miller's Capote..., Infamous is not only the more entertaining movie, it's the more sophisticated, and the more emotional, as well."
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(2003) |
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"As Miles, Clooney doesn't make any direct emotional appeal to the audience and yet his high style is so smashingly effective that Miles stands open to us: macher, lover, patsy."
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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."
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(1963) |
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"[The movie suggests that a] young man will either become like his corrupt elders, and presumably get a trophy woman of his own, or drown.... To Polanski, surviving in such a society, in such a world, is not the same as winning."
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(1968) |
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"The irony is subtle ... but irresistible for anyone interested in narrative paradox. L'Amour fou is one of the few movies, and one of the best, to deal directly with a literary subject."
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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."
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(2004) |
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"What's perfect for [Moore] is that the movie uses manic farce to crack the self-possession that usually keeps her so remote from us."
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(1998) |
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"Benigni does with the Nazi setting what Chaplin didn't dare in The Great Dictator--he lets the liberating nonsense triumph."
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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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(2004) |
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"Marston has made an amazingly lean debut feature.... But everything he trimmed wasn't fat."
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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."
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(2006) |
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"Nacho Libre is all it needs to be--ridiculous from beginning to end."
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(2004) |
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"Jon Heder gives a classic slapstick performance, something along the lines of the silent great Harry Langdon, that sleepy-headed weirdo baby, after a hormonal growth spurt."
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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."
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(2006) |
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"The characters' motives are base enough, and there's an odd combination of petty incidents having walloping consequences, but the ironies are as delicately layered and "delicious" as they could possibly be without a hint of preciosity."
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(2002) |
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"[I]t takes six or seven people to keep one half-dead Jew alive.... Wladyslaw's situation is extraordinary but what's happening on screen doesn't really feel so extraordinary. There's almost no emphasis, no point of view."
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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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(1955) |
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"What Guinness does with his eyes alone ... provides a seminar on acting. And that's just from the neck up."
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(2006) |
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"The Proposition depicts male brutality, both within and without the confines of the law, in a beautifully measured way that doesn't kill the intensity of the narrative--wild contrasts, ironic similarities, and all."
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(2006) |
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"To give the narrative depth, bite, or oomph, as naturalism, irony, or romance, or some combination ... Morgan would have to have invented more (as Shakespeare and Schiller did with their historical royalty)...."
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(2004) |
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"As thoroughly, gleefully disreputable a work of political critique as you could hope for."
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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."
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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."
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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."
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