 |
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B+ |
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(2008) |
|
"A bit dim-witted, [but] what it lacks in intellectualism it makes up for in formal moxie..."
[movie review] |
|
Cinepinion |
|
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| |
B+ |
|
(2009) |
|
"Up begins as a shrewd film that suggests a need to protect the good parts of the past while discounting the bad. But it ends with a moral discomfiting in its plain-and-simpleness: out with the old, in with the new."
[movie review] |
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Cinepinion |
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| |
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(2009) |
|
"Did Hasbro produce this in association with the Department of Defense and Palin 2012?"
[movie review] |
|
The L Magazine |
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| |
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(2009) |
|
"Like [Superbad], Year One essentially follows two sex-crazy guys as they wander through a nightmarish dry dream, in which the coitus is perpetually interruptus."
[movie review] |
|
The L Magazine |
|
|
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| |
B |
|
(2009) |
|
"Is The Postman Always Rings Twice a novel rooted in steamy sex or in social conditions? Solicit an American's opinion and you're sure to hear that it's about the sex. The hot, violent sex."
[movie review] |
|
Cinepinion |
|
|
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| |
B |
|
(2009) |
|
"Is The Postman Always Rings Twice a novel rooted in steamy sex or in social conditions? Solicit an American's opinion and you're sure to hear that it's about the sex. The hot, violent sex."
[movie review] |
|
Cinepinion |
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| |
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(2009) |
|
"A lame, clueless, exhaustingly straight-faced portrait of the contemporary city."
[movie review] |
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The L Magazine |
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2.5/4 |
|
(2009) |
|
"The worst thing about Woody's latest is Larry David."
[movie review] |
|
Slant Magazine |
|
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| |
B |
|
(2009) |
|
"From any objective standard, [Egoyan's] films...are awful. So why are they so damn appealing?"
[movie review] |
|
Cinepinion |
|
|
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| |
|
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(2009) |
|
"A glum, existential, psycho-philosophical mystery rooted in the tropes of retro sci-fi [is also] an exploration of space madness, the modern married man and corporate ethics."
[movie review] |
|
The L Magazine |
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| |
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(2009) |
|
"The filmmakers, like their characters, [are] just a bunch of asses, perpetuating the worst of society."
[movie review] |
|
The L Magazine |
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| |
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(2009) |
|
"Goofy old-school racism..."
[movie review] |
|
The L Magazine |
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| |
|
|
(2009) |
|
"[There's] nothing really going on here: spectacle after dull spectacle, broken by America's horseplaying comic nobility on cruise control, as though just showing up is funny."
[movie review] |
|
The L Magazine |
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|
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| |
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|
(2009) |
|
"Cormac McCarthy for the Transformers crowd."
[movie review] |
|
The L Magazine |
|
|
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| |
3.5/4 |
|
(2009) |
|
"Yamada and crew almost go so far as to suggest that the Japanese had their A-bombs coming to them, if it weren't for the achingly sympathetic family at the film's core."
[movie review] |
|
Slant Magazine |
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| |
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|
(1964) |
|
"The very Cold War Strangelove doesn't feel so relevant at the moment--unless we apply its nuclear anxieties not to American politics but to, say, Pakistan."
[movie review] |
|
The L Magazine |
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| |
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|
(2009) |
|
"The first Obama-era blockbuster. Sort of, anyway."
[movie review] |
|
Cinepinion |
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| |
3/5 |
|
(2009) |
|
"A makeshift-family affair: the Spanish-language version of the Apatow Dumpling Gang's excuse-for-a-vacation Forgetting Sarah Marshall, or the Soderberghers' excuse-to-hang-out Ocean's series."
[movie review] |
|
The L Magazine |
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| |
D+ |
|
(2009) |
|
"An exercise in pseudo-stylishness finds Jarmusch clinging to a faded notion of what constitutes cool, to an ideal of hip that smacks distastefully of the '90s--back when this brand of indie-pretentious, faux-mystical hitman bull could pass muster."
[movie review] |
|
Cinepinion |
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|
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| |
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(2009) |
|
"More Iron Man/Dark Knight hyperjingoistic bull - a Bush-era hangover spoiling Obama's first early-summer blockbuster season."
[movie review] |
|
The L Magazine |
|
|
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| |
B+ |
|
(2009) |
|
"The story's joints creak under gutsy narrative demands, but Gilroy's serviceable direction manages to keep the scriptopuzzle together. The film's pleasures derive from watching him get away with it."
[movie review] |
|
Cinepinion |
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|
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| |
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|
(2009) |
|
"On the one hand, we should commend horror directors that choose not to revel too long in geysers of blood (for not "Eli Rothing"); on the other, build-up without satisfying denouement is exasperating."
[movie review] |
|
The L Magazine |
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|
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| |
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|
(2009) |
|
"Anglo and American comic actors are meeting somewhere in the middle, finally catching up with their country's politicians who have been collaborating, troublesomely, for years."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"Instead of a bloody political thriller, something quiet, complex and unexpected emerges: a moral tragi-tale sans heroes and villains."
[movie review] |
|
The L Magazine |
|
|
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|
| |
|
|
(2009) |
|
"Each story adds up to nothing individually...and The Informers is exactly the sum of its parts."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
C |
|
(2009) |
|
"It feels like this has all been done before. And better."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
|
|
(2009) |
|
"A Technicolor photocopy pastiching pastiche. It fetishizes not the 1950's but its empty pop culture signifiers. And as such, it doesn't just signify nothing--it's insignificant."
[movie review] |
|
Cinepinion |
|
|
|
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| |
|
|
(2009) |
|
"At turns compelling and dull, moving and irritating, funny and eye rolling--much like A Chorus Line itself."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
|
|
(2009) |
|
"Unsettling borderline-incest and -pedophilia sequences crammed between as many clichés (and product placements) as possible."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"For better or worse, this is Tyson on Tyson--not The True Story of Mike Tyson."
[movie review] |
|
The L Magazine |
|
|
|
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| |
B- |
|
(2009) |
|
"If Caine were as sick as his character appears, this would be a worthy performance to go out on, regardless of the iffy material that it supports."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
2.5/4 |
|
(2009) |
|
"Demonstrates the difficulties that result from leaving home to find work, but in classic B-movie fashion it has a lot of fun with it too:"
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2009) |
|
"Monsters vs. Aliens is really Gays vs. The Church"
[movie review] |
|
The L Magazine |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"A serio-charming slice of Iranian neo-realism [that] shrouds grave matters like despondence and destitution in the trappings of a culture-contrast comedy."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
.5/4 |
|
(2008) |
|
"Director Matt Aselton cites Buñuel as an influence, but he fails to understand the difference between being a surrealist and being a nonsense-ist."
[movie review] |
|
Slant Magazine |
|
|
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| |
4/5 |
|
(2008) |
|
"The calm and calming film's sauntering, sand-bogged rhythms are as soothing as a holiday's; to take in Megane is to take a quick vacation, or at least enjoy a lazy day."
[movie review] |
|
The L Magazine |
|
|
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|
| |
1/5 |
|
(2009) |
|
"If this is with whom us average Americans are supposed to empathize, we deserve our recession."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
4/5 |
|
(2008) |
|
"A deceptively airy romance: a love story in love with stories, a work of art in love with art...that unfolds by folding in on itself."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
C+ |
|
(2009) |
|
"It's more CW than Canal Plus, and there's nothing wrong with that--in theory, anyway."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
B+ |
|
(2009) |
|
"Taken is a knuckleheaded action movie about kidnapping and sex slavery. Or, Taken is a subversive thriller about girls gone wild and American hegemony. Or, both."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
1/4 |
|
(2009) |
|
"The Perfect Sleep is an empty homage to a bygone genre."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
1/4 |
|
(2009) |
|
"Now is not the time to venerate kings."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
5/5 |
|
(2009) |
|
"Kurosawa has fashioned his masterpiece: a biting, sensitive and comprehensible film that is also human, contemporary and political."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
A- |
|
(2007) |
|
"An artful, strong-arming genre picture...Deftly paced and plotted, impeccably executed with a style no less than Kubrickian."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
A |
|
(2008) |
|
"That a documentary focused on the Twin Towers should be so focused on death...is fitting. Man on Wire's ostensible tribute to risk-taking fizzles, and the film is instead reborn as a loving tribute to the Towers."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
B |
|
(2009) |
|
"It succeeds photographically, as neo-realism, but with its focus spread across so many characters and shallow stories, it offers little personal or emotional insight, let alone context, into its visual revelations."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
2/5 |
|
(2007) |
|
"Had [Wajda] been able to make the movie at the other end of his 50-year career, it might not seem as trite and forgettable as it does now."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
2/5 |
|
(2009) |
|
"That the characters here are 'real' makes little difference; they're still, at this point, cliches, belying the promise of the Levittown Dream for the thousandth time."
[movie review] |
|
The L Magazine |
|
|
|
|
| |
A |
|
(2008) |
|
"The student-teacher movie finally done right...[it] unobtrusively doubles as a microcosmic exploration of France's failed melting pot society; Cantet handles the literal and the symbolic with dexterity, allowing both to exist independently."
[movie review] |
|
Cinepinion |
|
|
|
|
| |
C+ |
|
(2007) |
|
"An evocative portrait of the hardluck rural South, populated by animalistic archetypes, that falters whenever Nichols tries to turn those mythic forces into emotional individuals, ripping them from the primal story to which they belong."
[movie review] |
|
Cinepinion |
|
|
