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 4/4 |
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(1919) |
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"The influence of Robert Wiene's Caligari is so great that it threatens to obscure the work itself."
[movie review] |
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The Projection Booth |
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(1980) |
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"The completely heinous nature of the film...is exposed through its own inconsistencies."
[movie review] |
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The Projection Booth |
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 2.5/4 |
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(2006) |
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"Effectively portrays this practice as a deeply spiritual marriage of religious commitment and artistic perseverance."
[movie review] |
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Slant Magazine |
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 .5/4 |
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(2007) |
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"A poseur Grand Guignol, artistically indefensible and rank without purpose."
[movie review] |
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Slant Magazine |
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(2006) |
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"This is James Bond before sassy self-awareness set in, and it rattles the cages more than any number of explosions could in letting us know why he's still relevant today."
[movie review] |
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The Stranger Song |
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(2006) |
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"As uncertain and spontaneous as its events are in the moment, Children of Men feels too tightly wound for its own good."
[movie review] |
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The Stranger Song |
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(2008) |
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"Choke sucks."
[movie review] |
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The Projection Booth |
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(2005) |
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"Appreciable is its willingness to tantalize with slow reveals, thus allowing its otherwise obvious religious readings to imbue themselves more fully into the unfolding narrative."
[movie review] |
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The Projection Booth |
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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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(2008) |
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"Cloverfield comes to us packaged like a secret government file; if they wanted to maintain the illusion, why not go all the way as did the film?"
[dvd review] |
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The Projection Booth |
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(2008) |
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"I, for one, would be using the F-bomb far more gratuitously if faced with a possible encounter with a creature that could well swallow me whole."
[movie review] |
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The Projection Booth |
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 B+ |
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(1985) |
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"You're welcome, California!"
[movie review] |
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The Projection Booth |
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(2009) |
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"Functions as coach to the titular quarreling couple, almost rigorously evenhanded and unbiased as it details the opposing viewpoints and recollections."
[movie review] |
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The Projection Booth |
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 1/4 |
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(2006) |
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"The latest from a generation of filmmakers whose influence stems primarily from WB sitcom aesthetics and PlayStation videogame storylines, The Covenant falls into theaters like a fashion magazine adapted to the screen."
[movie review] |
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Slant Magazine |
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 2.5/4 |
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(2009) |
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"Both exhilarating and exhausting, it falls just short of a fever pitch."
[movie review] |
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Suite101.com |
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