|
2/4
|
13%
|
W.E. (2012) |
"
If it's not quite the unholy mess that the reviews have promised, there's no question that this is a sloppy, hubristic affair."
—
Film School Rejects
Posted Feb 10, 2012
|
|
3/4
|
92%
|
Chico & Rita (2012) |
"
The hand-drawn, watercolor-style animation is a natural fit for the story, with its retro sensibility and timeless effect."
—
amNewYork
Posted Feb 9, 2012
|
|
3/4
|
53%
|
Safe House (2012) |
"
Denzel Washington is one of those rare actors blessed with enough natural charisma that he can repeat things and still entertain us."
—
amNewYork
Posted Feb 9, 2012
|
|
2/4
|
34%
|
Joyful Noise (2012) |
"
If you should find yourself trapped at this diva show and are willing to give in to its heightened stupidity, you'll get your money's worth in a perverse sort of way. "
—
Film School Rejects
Posted Jan 14, 2012
|
|
3.5/4
|
88%
|
Once Upon a Time in Anatolia (2012) |
"
The film offers shifts in perspective that express deep humanist overtones and the conviction that life can't be seen or understood in simple terms of black and white."
—
amNewYork
Posted Jan 5, 2012
|
|
2/4
|
0%
|
Beneath The Darkness (2012) |
"
This mediocre movie should have bypassed theaters and gone straight to Netflix."
—
amNewYork
Posted Jan 5, 2012
|
|
3/4
|
54%
|
The Iron Lady (2012) |
"
The film views Thatcher with sympathy and admiration; the effect is a strange movie that manages to compel while also coming off as shortsighted."
—
The Atlantic
Posted Dec 30, 2011
|
|
3/4
|
54%
|
In the Land of Blood and Honey (2011) |
"
It's a testament to the strength of Jolie's craft that the taboo relationship at the picture's core is interwoven into the wartime fabric without seeming like a cop out."
—
Film School Rejects
Posted Dec 29, 2011
|
|
3/4
|
53%
|
Albert Nobbs (2012) |
"
The film trades in subdued emotions and subtle currents of longing that are deeply felt."
—
Film School Rejects
Posted Dec 27, 2011
|
|
2/4
|
76%
|
War Horse (2011) |
"
A stodgy, ridiculous movie with a horse that simultaneously serves as an allegory for the bond that unites all mankind and as a symbol of profound, idealized purity."
—
Film School Rejects
Posted Dec 23, 2011
|
|
3.5/4
|
45%
|
Extremely Loud & Incredibly Close (2012) |
"
The movie successfully reflects turmoil, looking at the world from the specific standpoint of a child who's ill-equipped to comprehend it, trying to survive as best he can."
—
The Atlantic
Posted Dec 23, 2011
|
|
3/4
|
94%
|
Corman's World: Exploits Of A Hollywood Rebel (2011) |
"
The doc offers a well-rounded treatise on Corman's indelible influence, benefiting from a strong cast of talking head contributors."
—
Film School Rejects
Posted Dec 19, 2011
|
|
3/4
|
82%
|
Young Adult (2011) |
"
It trades in discomfort and unease, not catharsis. That's an achievement worthy of admiration, if you can endure it."
—
The Atlantic
Posted Dec 9, 2011
|
|
3/4
|
84%
|
Tinker Tailor Soldier Spy (2011) |
"
The film emphasizes subtle, sly character details at the expense of flashy, straightforward storytelling."
—
amNewYork
Posted Dec 9, 2011
|
|
2.5/4
|
22%
|
The Sitter (2011) |
"
Director David Gordon Green stops pushing buttons and settles for the mundane when the movie demands the offbeat and the dark."
—
Film School Rejects
Posted Dec 9, 2011
|
|
2.5/4
|
93%
|
Coriolanus (2011) |
"
Beneath the manly posturing and thrilling handheld camera-captured combat scenes is a story bereft of heart, a mundane violent enterprise without any emotional appeal."
—
amNewYork
Posted Dec 1, 2011
|
|
2.5/4
|
80%
|
Shame (2011) |
"
It's a soulless, distancing portrait set against a bland elite Manhattan universe of sleek high-rises and glamorous bars."
—
amNewYork
Posted Dec 1, 2011
|
|
4/4
|
94%
|
Hugo (2011) |
"
The film is really about Scorsese sharing with us, on a deep visceral level, his extraordinary affection for the medium that's his passion, his profession, his everything."
—
Film School Rejects
Posted Nov 23, 2011
|
|
2.5/4
|
78%
|
A Dangerous Method (2011) |
"
It's a smart study of the root causes of destructive human behavior, but there's a flat quality to the dark impulses on display."
—
The Atlantic
Posted Nov 23, 2011
|
|
3.5/4
|
81%
|
Tyrannosaur (2011) |
"
Don't be afraid of the movie's grim facade: this is an uplifting journey worth taking. "
—
Film School Rejects
Posted Nov 21, 2011
|
|
3/4
|
44%
|
Happy Feet Two (2011) |
"
Happy Feet Two works because the prospect of penguins singing covers hasn't lost its appeal."
—
Film School Rejects
Posted Nov 18, 2011
|
|
1/4
|
3%
|
Jack and Jill (2011) |
"
Sandler's drag act becomes so excruciatingly unpleasant that it inspires involuntary shudders and post-traumatic nightmares."
—
Film School Rejects
Posted Nov 12, 2011
|
|
3/4
|
89%
|
Into The Abyss (2011) |
"
The film demonstrates Werner Herzog's unparalleled knack for drawing out the harmony and discord in nature."
—
amNewYork
Posted Nov 10, 2011
|
|
3.5/4
|
78%
|
The Love We Make (2011) |
"
The movie delves beneath Paul McCartney's polished celebrity exterior to draw out the essence of the man."
—
amNewYork
Posted Nov 7, 2011
|
|
3/4
|
69%
|
A Very Harold & Kumar Christmas (2011) |
"
The latest Harold & Kumar is a symphony of pristine ridiculousness, rendered in the third dimension."
—
Film School Rejects
Posted Nov 4, 2011
|
|
3/4
|
68%
|
Tower Heist (2011) |
"
This is, of course, Hollywood schlock, directed by shlock-master Brett Ratner. But it's also a surprisingly effective social drama."
—
The Atlantic
Posted Nov 4, 2011
|
|
2/4
|
37%
|
In Time (2011) |
"
It's all way too cut-and-dry, an enterprise in which a pedestrian plot and a straightforward aesthetic have been applied to a grand idea."
—
Film School Rejects
Posted Oct 30, 2011
|
|
2.5/4
|
50%
|
The Rum Diary (2011) |
"
The conflicts are undercooked, Johnny Depp's performance rote and the film mired in a sort of existential haze."
—
Film School Rejects
Posted Oct 28, 2011
|
|
3/4
|
90%
|
Martha Marcy May Marlene (2011) |
"
A compelling film about the visceral facts of the depressing, confusing, exciting, terrifying moment that its protagonist is stuck in."
—
Film School Rejects
Posted Oct 21, 2011
|
|
1/4
|
58%
|
Red State (2011) |
"
A simplistic, poorly-constructed exercise in low-rent genre moviemaking. It's as if Kevin Smith made the movie just so he could promote it."
—
Film School Rejects
Posted Oct 21, 2011
|
|
3/4
|
33%
|
Texas Killing Fields (2011) |
"
An assured, moody police procedural rendered with rich cinematography."
—
Film School Rejects
Posted Oct 14, 2011
|
|
1.5/4
|
39%
|
The Big Year (2011) |
"
One of the blandest imaginable comedies, a PG-rated flick that's so nice and so harmless it's like inhaling pound after pound of flavorless tofu."
—
Film School Rejects
Posted Oct 14, 2011
|
|
3/4
|
84%
|
My Week with Marilyn (2011) |
"
The truth, of course, is that Marilyn Monroe is what you make of her. Still, Michelle Williams offers a powerful way in."
—
The Atlantic
Posted Oct 10, 2011
|
|
3/4
|
71%
|
Carnage (2011) |
"
Foster, Reilly, Winslet and Waltz (four Oscar wins among them) share a preternatural gift for imbuing even the quietest moments with extraordinary, unconventional feeling."
—
Film School Rejects
Posted Oct 10, 2011
|
|
2/4
|
25%
|
Dirty Girl (2011) |
"
It'd be hard to conceive of a movie more painstakingly comprised of dramatic filler."
—
Film School Rejects
Posted Oct 8, 2011
|
|
3/4
|
25%
|
Killer Elite (2011) |
"
The picture entertains, at times legitimately and at others in a cheesy, '80s action sort of way"
—
Film School Rejects
Posted Sep 23, 2011
|
|
3/4
|
83%
|
Warrior (2011) |
"
There are extraordinary degrees of emotion and intelligence to be found in every word spoken by Tom Hardy and Joel Edgerton."
—
Film School Rejects
Posted Sep 9, 2011
|
|
3.5/4
|
76%
|
The Debt (2011) |
"
A painstakingly old-fashioned drama that's far more interested in the nuances of human behavior than exploitation or pyrotechnics."
—
Film School Rejects
Posted Sep 8, 2011
|
|
1/4
|
25%
|
Apollo 18 (2011) |
"
The film is so difficult to watch, and it's such a chore to discern a sense of place and perspective, that it sits onscreen like a big, dead weight."
—
Film School Rejects
Posted Sep 4, 2011
|
|
3/4
|
68%
|
Our Idiot Brother (2011) |
"
A bearded, long-haired, Crocs-clad Paul Rudd just owns the part and makes it all worthwhile."
—
Film School Rejects
Posted Aug 26, 2011
|
|
2.5/4
|
59%
|
Don't Be Afraid Of The Dark (2011) |
"
There's a serious disconnect between the highfalutin atmospherics and the nitty gritty sloppiness of the premise."
—
Film School Rejects
Posted Aug 25, 2011
|
|
2.5/4
|
36%
|
One Day (2011) |
"
The fractured chronological foundation doesn't translate to film, with the character arcs stifled by the fragmented glimpses at their stories."
—
Critic's Notebook
Posted Aug 20, 2011
|
|
3/4
|
62%
|
Amigo (2011) |
"
In its quiet way, Amigo builds to a devastating portrait of war's terrible cost."
—
Film School Rejects
Posted Aug 19, 2011
|
|
3/4
|
90%
|
Attack the Block (2011) |
"
This is a snarky, humorous movie about blasting aliens to bits, but if you're looking for more, you won't be left hanging."
—
Film School Rejects
Posted Aug 19, 2011
|
|
3/4
|
92%
|
Senna (2011) |
"
The film simultaneously hurls you into the highly-charged world of Formula One and the private emotional space of its complex protagonist."
—
Film School Rejects
Posted Aug 12, 2011
|
|
3/4
|
81%
|
Life in a Day (2011) |
"
Testifies to the remarkable, democratizing nature of cinema and the power of images seen and voices heard for the first time."
—
Film School Rejects
Posted Aug 12, 2011
|
|
2/4
|
21%
|
Salvation Boulevard (2011) |
"
The movie seems to be intoxicated by how funny it thinks it is, gleefully descending into a swell of hyperactivity, with each new scene engineered to one-up the last."
—
Film School Rejects
Posted Jul 16, 2011
|
|
3.5/4
|
96%
|
Harry Potter and the Deathly Hallows - Part 2 (2011) |
"
Sharply directed and appropriately tear-jerking, imbued with the gravitas of such an epic finale."
—
Critic's Notebook
Posted Jul 16, 2011
|
|
1.5/4
|
0%
|
The Undefeated (2011) |
"
This Sarah Palin hosanna is done in by the simple fact that its director needs to go back to film school."
—
The Atlantic
Posted Jul 15, 2011
|
