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(2006) |
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"The movie isn't good enough for him, but all the same [David] Morse manages to give as fine a performance as the material allows. Finer."
[movie review] |
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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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(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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(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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"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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"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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(2004) |
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"[A]n experiment can be valuable without being successful."
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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."
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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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(2006) |
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"[I]t combines a naked desire to please the audience with a try-anything approach of the kind that made Wedding Crashers such a desperate stab at entertainment."
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(2004) |
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"All told, Bright Young Things is one of the most depressing obliterations of a literary source that comes to mind."
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(2005) |
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"[T]he movie plays like any soap opera about a love that cannot be--the weeper mechanism is entirely familiar from hetero movies.... Brokeback Mountain isn't a gay western, it's a gay Back Street."
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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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(2004) |
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"[Mann's] still looking out the car windows for something to make a movie about as he's filming the convictionless scenes."
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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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(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."
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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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(1989) |
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"Allen starts with a sketchy premise and after working it through for 107 minutes he still has no more than the premise he started with."
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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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(2006) |
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"If ... the heroine is going to be as immune to temptation as Andy is ... then the spiritual dimension better be staggering ... because the narrative will have no suspense."
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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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(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."
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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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(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."
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(2006) |
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"The movie ... debunks the [government's] use of the boys as symbols and then turns them back into symbols, though of something else. There's not a fully realized personality in 132 minutes."
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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."
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(2004) |
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"[W]hy dramatize your premise when you can blow the windows out of an abandoned warehouse instead?"
[movie review] |
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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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"[I]t's hard to distinguish [Holofcener's] more tentative approach to narrative [here] from an identity crisis. Maybe that's why McDormand's material has by far the most bite."
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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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(1967) |
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"Nichols takes an ad hoc approach to comic irony and the movie seems to have been enshrined by American audiences because each moment in isolation "works," no matter that they tend to cancel each other out."
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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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(2004) |
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"Harold & Kumar Go to White Castle is the latest multicultural variant of the lowbrow buddy comedy in which the heroes just want to get high and laid."
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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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(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."
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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."
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