 |
|
|
|
|
|
|
|
|
 |
 |
 |
| |
 2.5/4 |
|
(2008) |
|
"Leans on players in the policymaking game as talking heads on issues and tactics, people with a personal stake in the outcome to fully humanize the issue and a few who straddle both categories."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |

|
|
(1989) |
|
"He gave her his heart, she gave him a pen, and Say Anything still gives off a sweet, enveloping glow."
[dvd review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3.5/4 |
|
(1989) |
|
"Say Anything was a singularly three-dimensional teen romance after a decade of broad gags and breakfast-club stereotypes in John Hughesland."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3.5/4 |
|
(2009) |
|
"Sex Positive uses the dual activist/sexual outlaw persona of "safer sex" pioneer Richard Berkowitz as a prism through which to view the life-and-death struggles of an era."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3.5/5 |
|
(1949) |
|
"An atypical mid-career Archers production, The Small Back Room should rise from overlooked status with this devotedly attentive release."
[dvd review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3.5/4 |
|
(1949) |
|
"One of the period's most piercing, emotionally anguished romances."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 2.5/4 |
|
(2009) |
|
"At its best a winning anecdote of adolescent male awkwardness adapting to the big city."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 1.5/4 |
|
(2008) |
|
"Cannibalizes both the Stax/Motown era of soul music and the shopworn road movie with an equal lack of freshness."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3.5/4 |
|
(2008) |
|
"Morris's signature touches can occasionally seem studied to the point of annoyance but the cumulative power of his busy, artsy style generally enhances the horror, making it no more palatable than necessary."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 2.5/4 |
|
(2009) |
|
"This Star Trek essentially turns out to be a war film, with the occasional philosophical timeout to discuss love, friendship, and duty until the next bone-crunching fistfight or multi-weapon rumble with the Romulans."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 1.5/4 |
|
(2009) |
|
"Director Kevin Macdonald can't begin to approach the paranoid genre mastery seen in the films of John Frankenheimer and Alan Pakula."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 2/4 |
|
(2008) |
|
"That Stop-Loss wears its generally good intentions on its camo sleeve doesn't keep it from being consigned to the missed-opportunity file."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 2/4 |
|
(2008) |
|
"Surely two decades of TV's post-Bochco dirty-cop dramas have removed this kind of potboiler not only from claims of artiness, but from expectations of being taken seriously."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 3/4 |
|
(2009) |
|
"An immigrant's saga more than "a baseball movie," Sugar ultimately runs headlong away from the clichés that mar formula sports-related narrative films."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 1/4 |
|
(2008) |
|
"A Shirley Temple movie camouflaged as political Capra-corn."
[movie review] |
|
Slant Magazine |
|
 |
 |
 |
| |
 B |
|
(2007) |
|
"A quieter, shorter but scarcely less idiosyncratic specimen of Rorschach cinema than Inland Empire."
[movie review] |
|
Stylus Magazine |
|
 |