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3.5/5 |
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"a fascinating tribute to Ford and his films"
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(1959) |
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"it is still powerful and uncompromising, but it is also strident, tortuous, and hateful"
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(1991) |
|
"a high wire neo-noir that bravely incorporates the urban thriller with the crazy twist of religious conversion and the saving/condemning of a divided soul."
[movie review] |
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Filmcritic.com |
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1.5/5 |
|
(2009) |
|
"less an integrated film project than a collection of actors' audition tapes, high energy exercises that look impressive individually but compiled together in a film are nothing short of ridiculous."
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(2009) |
|
"in the end becomes a screwball comedy take on a well-intentioned environmentalist and his long-suffering wife: Scenes From a Green Marriage"
[movie review] |
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Filmcritic.com |
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5/5 |
|
(1970) |
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"Husbands is devoid of story but filled with a present-tense vitality and emotional honesty"
[movie review] |
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Filmcritic.com |
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2/5 |
|
(2009) |
|
"We have finally reached the point where the only honest and inviolate form of media is the clear, crisp, and untainted craft of online film criticism."
[movie review] |
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Filmcritic.com |
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4/5 |
|
(2009) |
|
"Cloud 9 delivers a white hot blast of powerful emotions and makes us care about three characters in a direct and violent way"
[movie review] |
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Filmcritic.com |
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5/5 |
|
(1967) |
|
"From now on, Godard's films will become film essays and then cine-tracts. 2 or 3 Things I Know About Her is the dividing line."
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(1949) |
|
"an old man's movie shot with a young man's energy and gusto."
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(1948) |
|
"the first film to touch on many of Kurosawa's themes unfettered"
[movie review] |
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Filmcritic.com |
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4/5 |
|
(2009) |
|
"a better time cannot be had."
[movie review] |
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Filmcritic.com |
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5/5 |
|
(1950) |
|
"one of Ford's masterworks, a sublime, crisp, unpretentious western that doesn't wear its mythos on its sleeve"
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(2009) |
|
"Kempner's achievement in Yoo-Hoo, Mrs. Goldberg is to remind us all that there is an alternative cultural history that is buried, one that deserves to be uncovered and appreciated once again"
[movie review] |
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Filmcritic.com |
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3.5/5 |
|
(1951) |
|
"What succeeds in On Dangerous Ground is the raw emotionalism that bleeds out from the screen, unmatched in any of Ray's other films."
[movie review] |
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Filmcritic.com |
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2/5 |
|
(1946) |
|
"completely misinterprets the joys of film noir"
[movie review] |
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Filmcritic.com |
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| |
3/5 |
|
(1949) |
|
"a film of stylistic virtuosity saddled with a humdrum scenario, yet graced with a few subversive surprises."
[movie review] |
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Filmcritic.com |
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| |
4.5/5 |
|
(2009) |
|
"a heady combination of Synecdoche, New York, Annie Hall, Peeping Tom, and It's All True but all the more compelling because The Windmill Movie is all true."
[movie review] |
|
Filmcritic.com |
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|
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| |
2/5 |
|
(2008) |
|
"there is nothing worse than a pre-planned cult film afraid of its own shadow"
[movie review] |
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Filmcritic.com |
|
|
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| |
3.5/5 |
|
(2008) |
|
"If the French town of Senlis really looks like Provost's beautiful and painterly world as he depicts it in Séraphine, no wonder Séraphine Louis went nuts."
[movie review] |
|
Filmcritic.com |
|
|
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| |
5/5 |
|
(1952) |
|
"smashes it out of the ball park"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
3.5/5 |
|
(1962) |
|
"a textbook on widescreen composition."
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
3.5/5 |
|
(2009) |
|
"The quantity and depth of Glaser's work is awesome"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
1.5/5 |
|
(1993) |
|
"When John Lone parades around in mascara and speaks in an asexual monotone, the film audience discovers itself staring at John Lone's whiskers underneath his makeup"
[movie review] |
|
Filmcritic.com |
|
|
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| |
4.5/5 |
|
(1967) |
|
"a loose and extended mediation on Hawks's favorite themes of loyalty and professionalism."
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
2.5/5 |
|
(2009) |
|
"quickly abandons its singular unpretentiousness for three-ring goofiness"
[movie review] |
|
Filmcritic.com |
|
|
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| |
3.5/5 |
|
(1970) |
|
"intense, brazen, passionate"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
4/5 |
|
(2009) |
|
"totally wacky, a rite-of-passage romp"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
4/5 |
|
(2008) |
|
"deals with the light and not the shadows, and with an airy leisure and humor that belies the melancholy and foretold destiny of a dying old man."
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
4.5/5 |
|
(2002) |
|
"massive, towering, and impassioned"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
2.5/5 |
|
(2009) |
|
"self-important"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
2/5 |
|
(1949) |
|
"nothing but burnished dreck"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
3/5 |
|
|
|
"straightforward"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
2/5 |
|
(2009) |
|
"hackneyed drivel"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
2.5/5 |
|
(2008) |
|
"a tone poem of emptiness."
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
3.5/5 |
|
(2007) |
|
"meditative and measured"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
2.5/5 |
|
(2009) |
|
"Adams, one of the great American photojournalists, is more than deserving of a documentary tribute. Unfortunately, for all its good intentions, An Unlikely Weapon is not that documentary"
[movie review] |
|
Filmcritic.com |
|
|
|
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| |
4.5/5 |
|
(2009) |
|
"a paean to artistic hope in the midst of almost complete and abject failure."
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
2.5/5 |
|
(1938) |
|
"In Four Men and a Prayer, director John Ford doesn't have one"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
4/5 |
|
(2009) |
|
"passionate and melancholy, captures the yearning and despair of growing up in the late '70s at the beginning of the end of the American Dream"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
4.5/5 |
|
(1958) |
|
"a masterpiece of composition, atmosphere, and subtext."
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
3/5 |
|
(1975) |
|
"has one leg is still straddling the Think Fast Mr. Moto era."
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
1.5/5 |
|
(1969) |
|
"a meaningless and harmless bit of flatulence that caused barely a ripple of interest in 1969"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
3/5 |
|
(1960) |
|
"an enough enjoyable diversion"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
4/5 |
|
(1960) |
|
"Minnelli pulls back the stinky underbelly of this Texan-hell family in all his scope splendor"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
2.5/5 |
|
(2009) |
|
"shot like it's an especially wacky episode of All My Children."
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
2/5 |
|
(1952) |
|
"a load of atmosphere and malarkey in search of a coherent storyline"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
4/5 |
|
(1952) |
|
"Preminger transforms a second rate James M. Cain murder plot, re-orchestrating this textbook tale of passion and murder into a haunting and haunted refrain"
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
1/5 |
|
(2008) |
|
"It is phony, manipulative films like this that make people line up for Paul Blart: Mall Cop."
[movie review] |
|
Filmcritic.com |
|
|
|
|
| |
4/5 |
|
(1962) |
|
"The images populate the widescreen frame like a pressure cooker that is ready to blow up. And in High and Low, blow up they do."
[movie review] |
|
Filmcritic.com |
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|
