|
1/5
|
——
|
That Hagen Girl (1947) |
"
They shouldn't do such things to Shirley. It's downright un-American!"
—
New York Times
Posted Oct 6, 2007
|
|
1/5
|
——
|
Main Street After Dark () |
"
This is nothing more, really, than a feature-length 'Crime Does Not Pay' film which lacks both the interest and the tingle of its briefer counterparts."
—
New York Times
Posted Jul 7, 2007
|
|
1/5
|
87%
|
Bonjour Tristesse (1958) |
"
A bomb."
—
New York Times
Posted Mar 25, 2006
|
|
1/5
|
87%
|
The Leopard Man (1943) |
"
Half-baked efforts such as this one provoke little more than a yawn."
—
New York Times
Posted Mar 25, 2006
|
|
1/5
|
94%
|
Will Success Spoil Rock Hunter? (1957) |
"
[Tashlin], as the writer, producer and director of the film, has let it go mushy and sprawling even more than the original play of George Axelrod."
—
New York Times
Posted Mar 25, 2006
|
|
1/5
|
66%
|
The Fearless Vampire Killers (1967) |
"
He was evidently only trying to make fun of horror films, forgetting that horror films, played straight, are now more often funny -- unconsciously to -- than horrible."
—
New York Times
Posted May 9, 2005
|
|
1/5
|
36%
|
King Kong vs. Godzilla (1963) |
"
The one mild surprise of this cheap reprise of earlier Hollywood and Japanese horror films is the ineptitude of its fakery."
—
New York Times
Posted May 9, 2005
|
|
1/5
|
38%
|
Valley of the Dolls (1967) |
"
It's an unbelievably hackneyed and mawkish mish-mash of backstage plots and Peyton Place adumbrations."
—
New York Times
Posted May 9, 2005
|
|
1/5
|
89%
|
Bonnie and Clyde (1967) |
"
It is a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cutups in Thoroughly Modern Millie."
—
New York Times
Posted May 20, 2003
|
|
|
89%
|
Lady and the Tramp (1955) |
"
The sentimentality is mighty, and the use of the CinemaScope size does not make for any less awareness of the thickness of the goo."
—
New York Times
Posted Mar 25, 2006
|
|
|
75%
|
Becket (1964) |
"
Becket shows us a conflict that has more meaning for the heart than for the head. It is not a conflict to stand as a tempest violent and unforgettable, after 800 years."
—
New York Times
Posted May 9, 2005
|
|
|
94%
|
Smultronstället (Wild Strawberries) (1957) |
"
Mr. Bergman, being a poet with the camera, gets some grand, open, sensitive images, but he has not conveyed full clarity in this film."
—
New York Times
Posted May 20, 2003
|
|
1.5/5
|
——
|
Tension (1949) |
"
It rambles from one thing to another in a most unsuspenseful way and ends with a shattering revelation which you can see coming a half-hour in advance."
—
New York Times
Posted Dec 11, 2007
|
|
1.5/5
|
——
|
The Mating of Millie (1948) |
"
... if you can't guess what happens from here out you're the one person we can recommend to see this film."
—
New York Times
Posted Oct 20, 2007
|
|
1.5/5
|
——
|
Blue Angel () |
"
Theodore Bikel as a floorshow impresario and John Banner as the school principal perform with conventional competence among a cast of mostly callow boys."
—
New York Times
Posted Oct 13, 2007
|
|
1.5/5
|
——
|
Baby Face Nelson () |
"
A thoroughly standard, pointless and even old-fashioned gangster picture, the kind that began going out along with the oldtime sedans."
—
New York Times
Posted Feb 10, 2007
|
|
1.5/5
|
——
|
The Big Night (1951) |
"
Apparently everybody was concerned with theatrical effects and forgot all about a story with point and intelligence."
—
New York Times
Posted Feb 10, 2007
|
|
1.5/5
|
——
|
Vicki (1953) |
"
In view of the fact that I Wake Up Screaming was not much of a picture to start with, it is no wonder that this slight remodeling of it is an unimpressive dish of drama, too."
—
New York Times
Posted Sep 2, 2006
|
|
1.5/5
|
——
|
Long John Silver (1955) |
"
The arrangement on the part of Mr. Rackin is something less than inspired, and poor old Long John gains nothing in stature or fictional scope by being revived."
—
New York Times
Posted Jul 8, 2006
|
|
1.5/5
|
——
|
Kapò (2010) |
"
Kapo goes completely kaput."
—
New York Times
Posted May 6, 2006
|
|
1.5/5
|
80%
|
Saboteur (1942) |
"
To put it mildly, Mr. Hitchcock and his writers have really let themselves go. Melodramatic action is their forte, but they scoff at speed limits this trip."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
40%
|
War and Peace (1956) |
"
Alas, the human stories that Tolstoy told so significantly in the book are sketchy and inconsequential, despite the time devoted to them."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
86%
|
The Last Time I Saw Paris (1954) |
"
What is to be said of such a picture? The story is trite. The motivations are thin. The writing is glossy and pedestrian. The acting is pretty much forced."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
86%
|
Sorry, Wrong Number (1948) |
"
Perhaps if you have a special interest in foul folks and morbidities, you will thrill to this Hal Wallis picture. Frankly, we squirmed -- and not from dread."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
96%
|
Johnny Guitar (1954) |
"
Let's put it down as a fiasco. Miss Crawford went thataway."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
——
|
Song of Love (1947) |
"
The basic romance of the Schumanns has been reduced to cloying clichés and the brilliance of Brahms and his acid nature have been sloughed off for just a 'good-old-Charley' type."
—
New York Times
Posted Mar 25, 2006
|
|
1.5/5
|
64%
|
Eva (1962) |
"
There's not much wonder that practically everybody who had anything to do with the making of this film was offering excuses and alibis when it opened in Europe in 1962."
—
New York Times
Posted May 21, 2005
|
|
1.5/5
|
60%
|
Musik i mörker (Night is My Future) (1948) |
"
Cinematic juvenilia of a painful sort."
—
New York Times
Posted May 10, 2005
|
|
1.5/5
|
70%
|
I Live in Fear (Ikimono no kiroku) (1955) |
"
I feel sure that Mr. Kurosawa could have come up with a more constructive thought on how people should use their energies to pacifistic purpose than the negative one he gives us here."
—
New York Times
Posted May 9, 2005
|
|
1.5/5
|
94%
|
Jungfrukällan (The Virgin Spring) (1960) |
"
It is far from an easy picture to watch or entirely commend. For Mr. Bergman has stocked it with scenes of brutality that, for sheer unrestrained realism, may leave one sickened and stunned."
—
New York Times
Posted May 9, 2005
|
|
1.5/5
|
27%
|
The Oscar (1966) |
"
A piece of expensive claptrap, loaded with harrowing clichés."
—
New York Times
Posted May 9, 2005
|
|
1.5/5
|
92%
|
Campanadas a medianoche (Chimes at Midnight) (Falstaff) (1965) |
"
Evidently Mr. Welles's reading of Falstaff ranges between a farcical concept of him and a mawkish, sentimental attitude."
—
New York Times
Posted May 9, 2005
|
|
1.5/5
|
40%
|
Circus World (The Magnificent Showman) (1964) |
"
Heaven help all those other people who, deep down, remain to be convinced of the irresistibility of the circus. They're in for a terrible jolt."
—
New York Times
Posted May 9, 2005
|
|
2/5
|
91%
|
The Connection (2007) |
"
There is little about it to warrant the clamorous interest of the average moviegoer or to distinguish it as a significant piece of cinematic art."
—
New York Times
Posted Mar 27, 2012
|
|
2/5
|
——
|
Behind the Great Wall () |
"
Check off the novel experience as precisely what we've labeled it -- a stunt. The artistic benefit of it is here demonstrated to be nil."
—
New York Times
Posted Oct 26, 2010
|
|
2/5
|
——
|
Scent of Mystery () |
"
As theatrical exhibitionism, it is gaudy, sprawling and full of sound. But as an attempt at a considerable motion picture it has to be classified as bunk."
—
New York Times
Posted Oct 26, 2010
|
|
2/5
|
60%
|
Until They Sail (1957) |
"
Unfortunately there is a good deal of introspective soul-searching before this narrative arrives at its sad and happy endings."
—
New York Times
Posted Jun 17, 2008
|
|
2/5
|
0%
|
What a Way to Go! (1964) |
"
J. Lee Thompson's direction has failed to coalesce a good, firm farce. It lets the whole thing flap wildly -- and that's no way to make a film."
—
New York Times
Posted Jun 17, 2008
|
|
2/5
|
83%
|
Les Amants de Montparnasse (Montparnasse 19) (The Lovers of Montparnasse) (Heroes in White) (1958) |
"
The one bright spot is Miss Palmer, who acts with the breezy air of one who looks upon drunken artists as amusements. Maybe that's the way to look at this film."
—
New York Times
Posted Jan 22, 2008
|
|
2/5
|
——
|
The Sea of Grass (1947) |
"
To the credit of Elia Kazan, it must be said that his direction has pace, but the writers and others have betrayed him."
—
New York Times
Posted Nov 1, 2007
|
|
2/5
|
88%
|
Whirlpool (1949) |
"
There is no doubt that people will do strange things under hypnotic spell and that the techniques of hypnotism may be villainously employed. But you don't catch this fairly rational corner believing for one minute the hocuspocus that goes on."
—
New York Times
Posted Oct 23, 2007
|
|
2/5
|
45%
|
The Trip (1967) |
"
In trying to visualize a notion of what Peter Fonda goes through on an LSD trip, Roger Corman has simply resorted to a long succession of familiar cinematic images, accompanied by weird music and sounds."
—
New York Times
Posted Oct 13, 2007
|
|
2/5
|
——
|
Turnabout (1940) |
"
This self-conscious fantasy of a husband and wife who reverse their biological status is a tired and tiresome jape, as subtle as a five-cent stogie and just as aromatic."
—
New York Times
Posted Oct 6, 2007
|
|
2/5
|
——
|
Eight Iron Men () |
"
This film, from A Sound of Hunting, which was a play by Harry Brown, done in 1945 on Broadway, is a dismally meretricious thing, half of it smoldering dugout drama and the other half cheesecake burlesque."
—
New York Times
Posted Oct 6, 2007
|
|
2/5
|
——
|
Canadian Pacific (1949) |
"
This so-called outdoor action picture very quickly and wearily settles down to trickling along in the old bed of cowboy-and-Indian films."
—
New York Times
Posted Aug 4, 2007
|
|
2/5
|
——
|
There's Always Tomorrow (1956) |
"
For Pete's sake, have mercy on Dad -- especially if you are contemplating taking him to see this film."
—
New York Times
Posted Mar 24, 2007
|
|
2/5
|
94%
|
On the Bowery (1957) |
"
This is a temperance lecture on film that makes no new points."
—
New York Times
Posted Mar 20, 2007
|
|
2/5
|
——
|
Battle Hymn (1957) |
"
...doesn't miss a single cliché as it makes a calculated circuit of the old militant sky-pilot plot."
—
New York Times
Posted Jan 4, 2007
|
|
2/5
|
——
|
Track of the Cat (1954) |
"
It has no psychological pattern, no dramatic point. There's a lot of pretty snow scenery in it and a lot of talk about deep emotional things. But it gets lost in following some sort of pretense."
—
New York Times
Posted Sep 30, 2006
|
|
2/5
|
——
|
Orchestra Wives (1942) |
"
Mr. Miller and his assorted virtuosos are killers when it comes to making jive, but it takes more than wind and willingness to support a ninety-seven-minute film."
—
New York Times
Posted Sep 30, 2006
|
67%
——
98%
