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(2008) |
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"One can only infer that, in order for it to be taken seriously, the makers expected audiences to forget pretty much every movie they'd ever seen before in their entire life."
[movie review] |
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The Projection Booth |
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(1957) |
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"Makes no self-saluting motions to greater importance, which gives the material the much-desired breathing room it needs to reach full potency."
[movie review] |
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The Projection Booth |
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 1.5/4 |
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(2009) |
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"Renny Harlin's 12 Rounds attempts to put the final nail into the coffin of the static shot."
[movie review] |
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Slant Magazine |
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(2007) |
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"A savvy slab of undecorated cheese, made compelling by its unflinching willingness to dive into its material headfirst."
[movie review] |
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The Projection Booth |
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(1968) |
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"My God, it's full of stars: a fitting DVD package for the greatest film ever made."
[dvd review] |
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Slant Magazine |
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 4/4 |
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(1968) |
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"Central to the profundity of the film is the notion that few things are more meaningful than a child's first steps, the emotive impact of this scenario manifest in every one of the film's dizzying set pieces, albeit multiplied to epic proportions."
[movie review] |
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Slant Magazine |
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(2003) |
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"The film itself seems to exist in a state of perpetual imbalance... between life and death, the real and the surreal, civilization and chaos."
[movie review] |
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The Projection Booth |
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(2007) |
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"A merely competent package for one of the finest horror films of the past few years."
[dvd review] |
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The Projection Booth |
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(2007) |
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"Suggests the kind of fable as might be shared from generation to generation, albeit in its own nerve-racking, nihilistic way of directing these metaphors into our psyche."
[movie review] |
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The Projection Booth |
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(2007) |
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"It would now seem that the notebook drawings of troubled teenage boys have been elevated to the status of "high art". God save us all."
[movie review] |
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The Stranger Song |
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(1957) |
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"Though it is masterful in stretches, it ultimately mistakes feel-good qualities for truly satisfying ones."
[movie review] |
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The Projection Booth |
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(2007) |
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"Bears many of the same fatalistic concerns as its 1957 predecessor, but its totally slick execution... polishes the feeling right out of them."
[movie review] |
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The Stranger Song |
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(2006) |
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"The 4th Dimension prevails for both its overall lack of pretension, as well as a more implicit approach to such psychological mind games."
[movie review] |
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The Projection Booth |
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 3.5/4 |
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(2009) |
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"Deserving of Citizen Kane status in its insight, emotional depth, and yes, entertainment."
[movie review] |
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Suite101.com |
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 2/4 |
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(2007) |
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"Air Guitar Nation plays less like a feature-length documentary than it does a poorly thrown together behind-the-scenes supplement to the real thing."
[movie review] |
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Slant Magazine |
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(1997) |
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"Has more visual flair than any of George Lucas' Star Wars films, and at times is almost as fun."
[movie review] |
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The Projection Booth |
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 1.5/4 |
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(2009) |
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"What else can be said of a film in which even the vocal talent of J.K. Simmons is virtually indistinguishable from the rest of the cast?"
[movie review] |
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Slant Magazine |
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(2007) |
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"The mechanics of it are so aggravating that by the time you get to an actual throw-down, it's all but impossible to care about how poorly lit the rumble is."
[movie review] |
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The House Next Door |
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(1930) |
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"The film's centerpiece battle runs only eight minutes, yet its hellfire feels twice as long as Saving Private Ryan's D-Day onslaught."
[movie review] |
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The House Next Door |
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(2007) |
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"Frank Lucas is angry. You won't like him when he's angry."
[movie review] |
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The Projection Booth |
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(2007) |
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"Lee's film proves that it's a genre as viable as ever, endlessly flexible and perpetually illuminating."
[movie review] |
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The Projection Booth |
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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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(2006) |
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"Simultaneously champions creative desire while calling out the artistic realm's share of pretentious blowhards."
[movie review] |
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The Projection Booth |
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 4/4 |
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(1976) |
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"Assault on Precint 13's powerful exercise in democracy...is nothing short of one for the ages."
[movie review] |
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The Projection Booth |
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(2007) |
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"A cinematic fellatio for anyone easily impressed by set and costume design."
[movie review] |
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The Projection Booth |
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(2007) |
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"Something of an antithesis to the fake fuzziness of any Hallmark movie of the week."
[movie review] |
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The Projection Booth |
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 1.5/4 |
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(2007) |
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"Until the mess in the Middle East has found its way to a resolution, we can continue to expect films like Badland as part of the collateral damage in the War on Terror."
[movie review] |
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Slant Magazine |
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 2.5/4 |
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(2007) |
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"Banished effectively evokes the manner in which events of the past are carried into the present via cultural traditions, artifacts, and unspoken local histories."
[movie review] |
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Slant Magazine |
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(2008) |
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"The film comes out on the upper side of things by managing to avoid blue balls."
[movie review] |
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The Projection Booth |
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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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"Ultimately trades in schmaltz of the unearned kind."
[movie review] |
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The Projection Booth |
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(2007) |
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"Decade-old leftovers reaching for laughs."
[movie review] |
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The Projection Booth |
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 1.5/4 |
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(2007) |
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"For all of its lame distastefulness, Behind the Mask: The Rise of Leslie Vernon is a sadly appropriate reflection of its time."
[movie review] |
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Slant Magazine |
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(1983) |
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"This Criterion release could have been entirely without features and it would still rank among the finest DVDs of the year."
[dvd review] |
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The House Next Door |
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(1983) |
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"If greatness is determined less by perfection than by sheer forward thrust, I can think of few better examples than Berlin Alexanderplatz."
[movie review] |
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The House Next Door |
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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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 4/4 |
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(1915) |
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"Links the divide between American past and American present."
[movie review] |
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The Projection Booth |
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(2007) |
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"Its sleazy, scuzzy nature comes not from a forward desire to push the standards of taste but a been-there sense of the ways of the world."
[movie review] |
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The Projection Booth |
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 3/4 |
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(2007) |
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"Draws out the unseen riches that exist within what may otherwise appear typical or commonplace."
[movie review] |
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Slant Magazine |
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 1/4 |
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(2006) |
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"Truly offensive is the film's go-nowhere result, its purported liberal ideologies untapped beyond their potential for speedy, soulless entertainment."
[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 purportedly nonfictional cinema, Bloodline poses an implicit dilemma to viewers and critics: How do we know if what we're watching is real?"
[movie review] |
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Slant Magazine |
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 2/4 |
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(2006) |
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"The film isn't illuminating, just inflammatory."
[movie review] |
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Slant Magazine |
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(2007) |
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"Zzzzzzzzz."
[movie review] |
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The Projection Booth |
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 3/4 |
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(2009) |
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"Not unlike Dear Zachary: A Letter to a Son About His Father, personal anguish here proves emotionally cathartic."
[movie review] |
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Slant Magazine |
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(1988) |
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"Disney can't touch this."
[movie review] |
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The Projection Booth |
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(2007) |
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"If nothing else, enjoy Nicky Katt's hilariously smart-ass one-liners."
[movie review] |
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The Projection Booth |
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(1995) |
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"The only thing missing from this set is the preview for Gibson's next film: Dead Things I Beat with a Mace and Smear Across My Hairy Catholic Chest."
[dvd review] |
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Slant Magazine |
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 2/4 |
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(1995) |
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"So inspiring is his message that my own girlfriend channeled it, in the warning I received prior to my reviewing the film: You'd better love it, or I'll disembowel you."
[movie review] |
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Slant Magazine |
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(2006) |
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"High-aimed intentions are thrown askew by the reliance on inconsistent laughs seemingly meant to break the otherwise overriding tension."
[movie review] |
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The Projection Booth |
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(2006) |
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"Brick exemplifies the difference between a cinematic talent show and mere karaoke."
[movie review] |
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The Projection Booth |
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