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1.5/4 |
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(2009) |
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"Witch Mountain isn't escapism but a feature-length reminder that things are bad all over."
[movie review] |
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Slant Magazine |
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.5/4 |
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(2009) |
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"Like a failed offspring sullying its family name, this laughable would-be diversion has only its digitally-based predecessors going for it."
[movie review] |
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Slant Magazine |
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(2008) |
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"Though disappointingly lax in the features department, Dear Zachary is a work that truly speaks for itself."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(2008) |
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"The most ambitious work of its kind."
[movie review] |
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Slant Magazine |
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1.5/4 |
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(2009) |
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"Tyler Perry's roles as both populist entertainer and social preacher come into disconcerting conflict in the latest film."
[movie review] |
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Slant Magazine |
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2/4 |
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(2009) |
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"Dog Eat Dog's choice of hyper-stylized, overexposed cinematography is ultimately more concerned with creating a mood of jittery, hell-on-earth claustrophobia than it is with forcibly exoticizing its crime-stricken Colombian setting."
[movie review] |
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Slant Magazine |
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(2008) |
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"If you're looking for insight into the death and resurrection of Christ, look no further: I can think of no better means by which to experience the cumulative effect of three days in hell in under 100 minutes."
[movie review] |
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The Projection Booth |
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(2008) |
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"As far as goes its ability to stifle the young imagination, Igor has no recent competitor."
[movie review] |
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The Projection Booth |
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(2008) |
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"An overly decorated pinata afraid to expose the vacuum inside."
[movie review] |
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The Projection Booth |
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(2008) |
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"An insult to fourth-rate ripoffs of Se7en, and even that may not be harsh enough."
[movie review] |
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The Projection Booth |
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B+ |
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(2008) |
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"Rourke is sensational, but for me it's Aronofsky's handheld takes that steal the show... achingly, effortlessly evoking the time that hangs on every choice and missed opportunity."
[movie review] |
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The Projection Booth |
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B+ |
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(2008) |
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"Nothing if not more than the sum of its parts."
[movie review] |
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The Projection Booth |
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C |
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(2008) |
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"Suffers chiefly from a distasteful thematic overemphasis, though not far behind is the film's rather insistent self-flattery."
[movie review] |
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The Projection Booth |
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B- |
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(2008) |
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"[The cast's] eagerly mucking about the film's thematic underbelly almost justifies the relative triteness with which the material is presented."
[movie review] |
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The Projection Booth |
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C |
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(2008) |
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"Emotionally robotic and superficially deliberate."
[movie review] |
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The Projection Booth |
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2.5/4 |
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(2008) |
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"As the film eschews self-importance, it engages more directly and universally, if only in a rudimentary fashion that fails in terms of overall staying power."
[movie review] |
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Suite101.com |
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0.5/4 |
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(2008) |
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"[There is] no consistency or rhythm to its visual tangents, which splotch about frantically, desperately, like diarrhea spraying about the outside of its porcelain target."
[movie review] |
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Suite101.com |
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2/4 |
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(2008) |
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"An affair that aims low and succeeds well in such."
[movie review] |
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Slant Magazine |
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3/4 |
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(2008) |
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"Though far from his best, we're still lucky to have it."
[movie review] |
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Suite101.com |
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(2008) |
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"An insult to Dark Knight fans, cinematic technophiles, and DVD special features everywhere."
[dvd review] |
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Suite101.com |
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(2008) |
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"The season entire suggests a creation struggling to outdo itself and coming up short in the process."
[movie review] |
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Suite101.com |
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0.5/4 |
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(2008) |
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"To grant Expelled any credibility beyond the opening minutes requires nothing short of a leap of faith."
[movie review] |
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Suite101.com |
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1.5/4 |
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(2008) |
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"The cinematic equivalent of watching a balloon deflate slowly, agonizingly, through a microscopic pinprick."
[movie review] |
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Suite101.com |
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3.5/4 |
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(2008) |
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"When [Stone] looks into Bush's eyes... he's reflecting on the long, tormented nights of many an American soul."
[movie review] |
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Suite101.com |
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3/4 |
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(2008) |
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"If the first Hellboy was about the loss of our fathers and the mystery of where we come from, Hellboy II centers on where we are going, and what we do when the mantle passes."
[movie review] |
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Suite101.com |
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1.5/4 |
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(2003) |
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"The lurid gimmick of a barking sideshow host."
[movie review] |
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Suite101.com |
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3/4 |
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(2008) |
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"The film itself evokes the collision of an unstoppable force with an immovable object."
[movie review] |
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Suite101.com |
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1.5/4 |
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(2008) |
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"This time around, Bond's biggest adversaries are those behind the camera."
[movie review] |
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Suite101.com |
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3/4 |
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(2008) |
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"A probing, textured mix of historical and personally shot footage set to an effectively disembodied voiceover."
[movie review] |
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Slant Magazine |
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(2003) |
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"Often masterful in its distillation of exposition into pure sight and sound energy... but equally frustrating in its attention-grabbing lack of focus."
[movie review] |
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The Projection Booth |
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2.5/4 |
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(2008) |
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"Paced with a steady ebb and flow of tidal-like transitions, Santiago Otheguy's impressive debut feature juxtaposes images of natural order with human acts of destruction."
[movie review] |
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Slant Magazine |
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1.5/4 |
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(2008) |
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"My Best Friend's Girl ultimately fails to measure up to its own standards."
[movie review] |
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Slant Magazine |
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(2008) |
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"Religion is important to these characters but the presence of Christianity itself is practically incidental."
[movie review] |
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Slant Magazine |
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.5/4 |
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(2008) |
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"Cobbled together with plotlines, characters, catchphrases and other assorted gimmicks still lodged in the short-term memory cavities of our pop cultural consciousness."
[movie review] |
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Slant Magazine |
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D- |
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(2008) |
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"For movies like Vantage Point, life is too short."
[movie review] |
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The Projection Booth |
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B |
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(2008) |
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"A cumbersome work but one nevertheless blistering in its excavation of our deepest fears, desires, and the inherent absurdities therein."
[movie review] |
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The Projection Booth |
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C |
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(2008) |
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"Woefully small-scale, often misguided but never disingenuous."
[movie review] |
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The Projection Booth |
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D |
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(2008) |
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"Is The Clone Wars really the pilot for a Star Wars television series, or is it a last-ditch effort to make the prequel trilogy look better via retrospective comparison?"
[movie review] |
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The Projection Booth |
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2/4 |
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(2008) |
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"You'll learn more about the pathos of hanging ten from Surf's Up."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(2008) |
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"Contrary to what its altogether hideous advertising campaign would have you think, the latest collaboration between Eddie Murphy and Norbit director Brian Robbins is not, in fact, the worst movie ever made."
[movie review] |
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Slant Magazine |
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3/4 |
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(2008) |
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"Money makes the world go round in Days and Clouds, a darling relationship drama that probes our collective fears about financial instability with an almost profoundly empathetic detachment."
[movie review] |
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Slant Magazine |
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(2008) |
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"Only half good cinema, seemingly the result of its maker's stunted belief/determination in both himself and his audience."
[movie review] |
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The House Next Door |
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(2008) |
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"Sound and fury signifying nothing, indeed."
[movie review] |
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The House Next Door |
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(2003) |
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"The film almost matches the inner conflict of its titular character, intermittently bogged down even as it soars to occasionally transcendent heights."
[movie review] |
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The Projection Booth |
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2.5/4 |
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(2008) |
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"So nerve-racking is its death-defying rock climbing footage that To the Limit could have easily been renamed Vertigo without giving the master of suspense any postmortem unease."
[movie review] |
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Slant Magazine |
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C+ |
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(2008) |
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"Flogging the audience is one thing, but to deny them free will in their role - thus responsibility - is something else."
[movie review] |
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The Projection Booth |
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B+ |
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(2004) |
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"Artistically resonant even as it deliberately follows a contemporary narrative structure."
[movie review] |
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The Projection Booth |
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3/4 |
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(2008) |
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"On the Rumba River illuminates a culture's means of political response via communal expression through music."
[movie review] |
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Slant Magazine |
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(1989) |
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"A hollow void of underdeveloped style and half-hearted execution."
[movie review] |
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The Projection Booth |
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(2008) |
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"I'm happy to admit I'm up in the air and ready to go back for more."
[movie review] |
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The Projection Booth |
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