|
1/5
|
69%
|
World Trade Center (2006) |
"
In the end, all Stone really seems to be up to is using Sept. 11 to again mourn the loss of mythical white American innocence for what one assumes will be a predominantly white Boomer audience. And no doubt turning a pretty penny doing it."
—
Orlando Weekly
Posted Aug 10, 2006
|
|
1/5
|
26%
|
The Omen (2006) |
"
[John Moore's] work here is -- how to put it politely? -- godawful, an alternating mess of broods and gnashing of teeth."
—
Las Vegas Weekly
Posted Jun 6, 2006
|
|
1/5
|
75%
|
The Upside of Anger (2005) |
"
The Upside of Anger strands yet another terrific Joan Allen performance in thematically self-contradicting twaddle."
—
Baltimore City Paper
Posted Mar 17, 2005
|
|
1/5
|
18%
|
Paparazzi (2004) |
"
The already indefensible vigilante genre gets degraded/updated to the Bush era."
—
Orlando Weekly
Posted Sep 9, 2004
|
|
1/5
|
23%
|
Wicker Park (2004) |
"
Being nonlinear means never having to make sense. Without its digressions and flash-forwards, Wicker Park's plot would barely fill two minutes of screen time."
—
Orlando Weekly
Posted Sep 9, 2004
|
|
1/5
|
11%
|
Exorcist - The Beginning (2004) |
"
Exorcist: The Beginning is less a fully formed franchise product than a bunch of naughty bits strung together."
—
Baltimore City Paper
Posted Aug 26, 2004
|
|
1/5
|
95%
|
Before Sunset (2004) |
"
As dull as drying paint -- little more than the sound of Linklater talking to himself in an echo chamber."
—
Baltimore City Paper
Posted Jul 30, 2004
|
|
1/5
|
19%
|
The Life of David Gale (2003) |
"
Turns out to be not much more than a high-concept question padded out to feature length."
—
Orlando Weekly
Posted Feb 27, 2003
|
|
|
55%
|
16 Blocks (2006) |
"
A limp, lazy exercise in nostalgia for the buddy genre that director Richard Donner helped define in the '80s."
—
Orlando Weekly
Posted Mar 2, 2006
|
|
|
16%
|
Underworld: Evolution (2006) |
"
True to its title, Underworld: Evolution represents a modest learning curve for director Len Wiseman, who advances from the inept awfulness of his first vampire-versus-werewolf idiocy to the determined mediocrity of this incomprehensible follow-up."
—
Orlando Weekly
Posted Jan 26, 2006
|
|
|
43%
|
Bee Season (2005) |
"
We're knee-deep in tastefully presented balderdash."
—
Orlando Weekly
Posted Dec 6, 2005
|
|
|
61%
|
Jarhead (2005) |
"
We can't argue with the film's tagline: 'Welcome to the suck.'"
—
Orlando Weekly
Posted Nov 3, 2005
|
|
|
20%
|
Doom (2005) |
"
What the movie lacks in story, it makes up for in cost-cutting: It's mostly shot in dark, endlessly redressed hallways, and its advertised beast is never fully shown."
—
Orlando Weekly
Posted Oct 27, 2005
|
|
|
26%
|
Stay (2005) |
"
If dreariness were high art, Stay would be a permanent fixture in the Louvre."
—
Orlando Weekly
Posted Oct 27, 2005
|
|
|
87%
|
A History of Violence (2005) |
"
Remote and feeling overly fussed over, it's a schematic of identity conflict and family drama with airs of American psycho/socio-study and theme-muddling genre add-ons."
—
Baltimore City Paper
Posted Sep 29, 2005
|
|
|
36%
|
Asylum (2005) |
"
So obsessed with rendering Patrick McGrath's exquisitely twisted Gothic novel as a refined affair that it forgets less ambitious pursuits, like sussing out a way to keep us awake."
—
Orlando Weekly
Posted Sep 15, 2005
|
|
|
51%
|
Transporter 2 (2005) |
"
An embarrassment of giggles."
—
Orlando Weekly
Posted Sep 8, 2005
|
|
|
7%
|
Undiscovered (2005) |
"
By the time Peter Weller appears to do his William Burroughs routine, you can only assume an angry God has added up all your sins and this movie is your punishment."
—
Orlando Weekly
Posted Sep 1, 2005
|
|
|
53%
|
The Devil's Rejects (2005) |
"
This follow-up unwisely pretends to seriousness."
—
Orlando Weekly
Posted Jul 21, 2005
|
|
|
41%
|
High Tension (Switchblade Romance) (2005) |
"
About nothing more than a desire to shock in the meanest fashion available, mistaking pointless cruelty for edginess while banking on your audience's assumed distrust of female sexuality."
—
Baltimore City Paper
Posted Jun 9, 2005
|
|
|
77%
|
La Virgen de los Sicarios (Our Lady of the Assassins) (2001) |
"
Although not without its plangently grim observations, Our Lady is pretty inert material."
—
Baltimore City Paper
Posted Nov 8, 2001
|
|
|
24%
|
Don't Say a Word (2001) |
"
Director Gary Fleder animates his contrivances with considerable pep, but the whole concept is a bit overtired."
—
Baltimore City Paper
Posted Sep 27, 2001
|
|
1.5/5
|
46%
|
Bobby (2006) |
"
Terrible, uninformative and embarrassingly amateurish in word and lensing."
—
Orlando Weekly
Posted Nov 23, 2006
|
|
1.5/5
|
53%
|
Melinda and Melinda (2005) |
"
Allen once based his career on making mincemeat of the very people Melinda and Melinda dotes upon."
—
Orlando Weekly
Posted Mar 31, 2005
|
|
1.5/5
|
70%
|
The Company (2003) |
"
A numbingly nothing vanity project."
—
Orlando Weekly
Posted Mar 19, 2004
|
|
1.5/5
|
64%
|
My Life Without Me (2003) |
"
Silly, dull and depressing."
—
Orlando Weekly
Posted Nov 7, 2003
|
|
2/5
|
57%
|
Becoming Jane (2007) |
"
The film's notion of Austen's great works being nothing loftier than the result of failed puppy love suggests the filmmakers perversely believe that gross oversimplification is a virtue."
—
Orlando Weekly
Posted Aug 9, 2007
|
|
2/5
|
70%
|
Amazing Grace (2007) |
"
It's a good story, but director Michael Apted can't help but fall into the usual cinematic habits of the hagiographic species."
—
Orlando Weekly
Posted Feb 22, 2007
|
|
2/5
|
33%
|
The Good German (2007) |
"
The Good German is a self-serving act of fetishistic virtual embalming, with all the liveliness that description implies."
—
Orlando Weekly
Posted Dec 21, 2006
|
|
2/5
|
70%
|
The Science of Sleep (2006) |
"
A cloying confection of candied whimsy and exclusive self-referentiality."
—
Baltimore City Paper
Posted Sep 28, 2006
|
|
2/5
|
75%
|
Factotum (2006) |
"
... when taking Bukowski at his sodden solipsistic word, there isn't much there there."
—
Orlando Weekly
Posted Sep 12, 2006
|
|
2/5
|
79%
|
Brick (2006) |
"
You can't fault Johnson for a lack of honest genre love, but his forced formalism ... achieves little other than to keep us at a drama-neutering distance."
—
Las Vegas Weekly
Posted Jun 6, 2006
|
|
2/5
|
21%
|
Resident Evil - Apocalypse (2004) |
"
[Witt's] journeyman effort totally lacks Anderson's smart-trash poetics and pulp-art visual sense."
—
Baltimore City Paper
Posted Sep 16, 2004
|
|
2/5
|
72%
|
Buffalo Soldiers (2001) |
"
You realize that there's not much more at [Jordan's] film's heart than a self-satisfied, cynical smirk."
—
Baltimore City Paper
Posted Nov 14, 2003
|
|
2.5/5
|
85%
|
The Hoax (2007) |
"
This lie-streaked retelling of a fraud aims not for the meta, but for history-repeating object lesson, explicitly drawing parallels between Irving and Nixon's cons and our current hoax-based regime. But it all rings hollow."
—
Orlando Weekly
Posted Apr 5, 2007
|
|
2/4
|
84%
|
The Descent (2006) |
"
Aside from its high concept -- instead of Snakes on a Plane, it's Chicks in a Cave (with monsters!) -- place-setting is almost all Marshall does."
—
Orlando Weekly
Posted Aug 3, 2006
|
|
2.5/5
|
87%
|
The Aviator (2004) |
"
Scorsese seems to want to make his version of 'pure' cinema while staying within the boundaries of marketable narrative film. Instead, The Aviator suggests he might want to think of choosing one or the other."
—
Baltimore City Paper
Posted Dec 23, 2004
|
|
2.5/5
|
54%
|
Cellular (2004) |
"
1/3 of a terrific thriller."
—
Baltimore City Paper
Posted Sep 16, 2004
|
|
2.5/5
|
82%
|
The Barbarian Invasions (Les Invasions barbares) (2003) |
"
Sébastien, Nathalie and the film's other secondary characters are neat, shaded creations ably played. But unfortunately, this isn't their movie."
—
Orlando Weekly
Posted Apr 9, 2004
|
|
2.5/5
|
90%
|
The Magdalene Sisters (2003) |
—
Baltimore City Paper
Posted Sep 11, 2003
|
|
2.5/5
|
54%
|
The Transporter (2002) |
"
Because it dispenses with its plot specifics in about 15 minutes, The Transporter allows its audience ample time to ponder its multiple shortcomings and slight attractions."
—
Baltimore City Paper
Posted Oct 10, 2002
|
|
2.5/5
|
86%
|
24 Hour Party People (2002) |
"
Though the filmmaker's attention to detail is unassailable, his relentless urge to prove his hipster bona-fides mangles his material."
—
Baltimore City Paper
Posted Sep 19, 2002
|
|
3/5
|
82%
|
Talk to Me (2007) |
"
In Talk to Me, director Kasi Lemmons has expertly crafted an uplifting civil rights-era biopic free of false hope and cloying nostalgia."
—
Orlando Weekly
Posted Jul 26, 2007
|
|
3/5
|
90%
|
Rescue Dawn (2007) |
"
So here we are, mired in a stupid, loathsome war, and what does Werner Herzog do? He creates an absolutely riveting sort-of love letter to America that takes place during that last stupid, loathsome U.S. war, Vietnam."
—
Baltimore City Paper
Posted Jul 26, 2007
|
|
3/5
|
58%
|
Mr. & Mrs. Smith (2005) |
"
Less a movie than a filmed pitch -- 'They're married, they're both spies, but neither knows it!' -- Mr. and Mrs. Smith manages to offer even less than its threadbare premise."
—
Baltimore City Paper
Posted Jun 10, 2005
|
|
3/5
|
90%
|
Hotel Rwanda (2004) |
"
George seems skittish about going too deeply or bloodily into the damning details of this particular heart of darkness."
—
Baltimore City Paper
Posted Jan 13, 2005
|
|
3/5
|
26%
|
Blade: Trinity (2004) |
"
After penning two Blade opuses, David S. Goyer helms his own vampire-killer epic and cheerfully goes ADDA berserk."
—
Baltimore City Paper
Posted Dec 21, 2004
|
|
3/5
|
46%
|
Shall We Dance (2004) |
"
Runs the constant risk of dissolving into extreme silliness, but its continuous small-change pleasures and general sweetness grow in aggregate."
—
Orlando Weekly
Posted Oct 15, 2004
|
|
3/5
|
11%
|
A Man Apart (2003) |
"
Grim business and more than a bit of a mess, but, aside from its hokey finales, honest in its despairing way."
—
Baltimore City Paper
Posted Apr 10, 2003
|
|
3/5
|
82%
|
Drumline (2002) |
"
A sugar-coated Rocky whose valuable messages are forgotten 10 minutes after the last trombone honks."
—
Baltimore City Paper
Posted Dec 13, 2002
|
67%
——
98%
