|
|
56%
|
The Bourne Legacy (2012) |
"
Perhaps the most interesting question arising from The Bourne Legacy is just how long the filmmakers hope to trade on the Bourne name without any, you know, Bourne. "
—
The Atlantic
Posted Aug 10, 2012
|
|
|
30%
|
Total Recall (2012) |
"
I was no particular fan of the first Total Recall, but I confess that this flat, by-the-numbers remake made me a tad nostalgic for its bombastic preposterousness."
—
The Atlantic
Posted Aug 3, 2012
|
|
|
79%
|
Ruby Sparks (2012) |
"
Envision (500) Days of Summer as retold by Charlie Kaufman and you won't be far off. "
—
The Atlantic
Posted Jul 27, 2012
|
|
|
88%
|
The Dark Knight Rises (2012) |
"
There was an opportunity here for Nolan to show us another way, to (again) stretch the boundaries of what is possible in a superhero film. Instead, alas, the latter half of The Dark Knight Rises retreats toward conventionality."
—
The Atlantic
Posted Jul 20, 2012
|
|
|
37%
|
Ice Age: Continental Drift (2012) |
"
Yes, this is the part where I outsource my critical role to my children. If you are the kind of person who (quite understandably) abhors this particular gimmick, you may wish to stop reading now."
—
The Atlantic
Posted Jul 13, 2012
|
|
|
73%
|
The Amazing Spider-Man (2012) |
"
The Amazing Spider-Man is considerably more fun-and, yes, even touching-than so premature a reboot had any right to be. "
—
The Atlantic
Posted Jul 3, 2012
|
|
|
43%
|
To Rome with Love (2012) |
"
Allen seems to be aiming for the precise intersection of art and commerce where sophistication is implied, but nothing that takes place is ever obscure or challenging or revelatory. "
—
The Atlantic
Posted Jun 29, 2012
|
|
|
78%
|
Brave (2012) |
"
Though it falls short of the studio's best in many respects, Brave is ravishing to look at. Merida's carrot corona is alone worth the price of admission. "
—
The Atlantic
Posted Jun 22, 2012
|
|
|
41%
|
Rock of Ages (2012) |
"
The movie's supporting stars are always, inevitably, winking at the audience, but it's unclear whether the dewy-eyed leads even know how to blink. "
—
The Atlantic
Posted Jun 15, 2012
|
|
|
74%
|
Prometheus (2012) |
"
Prometheus--like, in its telling, the human race itself--is a creation spliced from the DNA of superior forebears."
—
The Atlantic
Posted Jun 8, 2012
|
|
|
94%
|
Moonrise Kingdom (2012) |
"
Anderson's best feature since Rushmore, in part because, like that film, it takes as its primary subject matter odd, precocious children, rather than the damaged and dissatisfied adults they will one day become. "
—
The Atlantic
Posted Jun 1, 2012
|
|
|
47%
|
Snow White and the Huntsman (2012) |
"
Sanders does not (yet) share Guillermo del Toro's gifts, but he, too, has an eye for the beautiful and the grotesque, and for that entrancing borderline where the two meet."
—
The Atlantic
Posted Jun 1, 2012
|
|
|
70%
|
Men in Black III (2012) |
"
The movie represents at least a partial return to form--not as inventive as the first, but surely better than the recycled materials that made up the second."
—
The Atlantic
Posted May 25, 2012
|
|
|
34%
|
Battleship (2012) |
"
Battleship is substantially less awful than it could have been. And for me, that may have been the biggest disappointment of all."
—
The Atlantic
Posted May 18, 2012
|
|
|
57%
|
The Dictator (2012) |
"
A bit scattershot and schticky, the film never quite settles into a consistent comic rhythm. Yet for fans of Baron Cohen's work there are plenty of moments of crass hilarity."
—
The Atlantic
Posted May 16, 2012
|
|
|
38%
|
Dark Shadows (2012) |
"
Fans of Depp's past collusions with Burton will find their rewards along the way. But there's a perfunctory vibe to the goings on, a weariness amid the weirdness."
—
The Atlantic
Posted May 11, 2012
|
|
|
92%
|
Marvel's The Avengers (2012) |
"
Ultimately, it all comes back to Whedon: His clear vision for each character and how they might be profitably intermingled; his unexpected knack for action choreography; his funny, tender, immaculately constructed script."
—
The Atlantic
Posted May 4, 2012
|
|
|
92%
|
The Cabin in the Woods (2012) |
"
A horror movie embedded in a conspiracy flick embedded in another horror movie-the most inventive cabin-in-the-woods picture since The Evil Dead and the canniest genre deconstruction since Scream."
—
The Atlantic
Posted Apr 13, 2012
|
|
|
51%
|
John Carter (2012) |
"
The most indelible performance in the film is not, strictly speaking, a performance at all. Rather it is Woola, a six-legged Martian hound who rather resembles a cross between a bulldog and a fetal gila monster."
—
The Atlantic
Posted Mar 9, 2012
|
|
|
96%
|
The Muppets (2011) |
"
The chorus of one of the songs declares, 'I've got everything that I need, right in front of me.' For 120 minutes, that's precisely how I felt."
—
The Atlantic
Posted Nov 24, 2011
|
|
|
72%
|
Like Crazy (2011) |
"
Belying its title, Like Crazy is a film not about the ferocity of love, but about its fragility."
—
The Atlantic
Posted Nov 4, 2011
|
|
|
47%
|
Anonymous (2011) |
"
Take the political intrigue of Elizabeth, add the backstage drama of Shakespeare in Love, and divide by the adherence to fact and logic that propelled 2012 and The Day After Tomorrow. "
—
The Atlantic
Posted Oct 28, 2011
|
|
|
88%
|
Margin Call (2011) |
"
Chandor's film is not a tale of the plots and counterplots of conniving bankers. It is a disaster movie, in which even the Masters of the Universe are running for their lives. "
—
The Atlantic
Posted Oct 21, 2011
|
|
|
35%
|
The Thing (2011) |
"
The line between homage and apery is a fine one, and The Thing teeters on it at times."
—
The Atlantic
Posted Oct 14, 2011
|
|
|
85%
|
The Ides of March (2011) |
"
From the film's ideological vantage point, moderate Democrats are Machiavellian devils, and Republicans are an inconceivable evil looming on a distant horizon, like the White Walkers in Game of Thrones. "
—
The Atlantic
Posted Oct 7, 2011
|
|
|
93%
|
Drive (2011) |
"
The extreme and escalating violence will prove off-putting to some-frankly, I'm surprised not to have been among them-but for the rest, Drive is a needle-punch of adrenaline to the aorta. "
—
The Atlantic
Posted Sep 16, 2011
|
|
|
84%
|
Contagion (2011) |
"
The film resembles its viral subject a little too closely: an intricate, formidable mechanism with no evident purpose."
—
The Atlantic
Posted Sep 9, 2011
|
|
|
77%
|
The Debt (2011) |
"
Vogel's introduction, 'This is my hand, and this is the speculum,' may at last have displaced the 'Is it safe?' of Christian Szell--another Mengele stand-in--as the most discomfiting sentence ever uttered by doctor to patient onscreen. "
—
The Atlantic
Posted Sep 2, 2011
|
|
|
45%
|
30 Minutes or Less (2011) |
"
The movie belongs to Ansari, who steals nearly every scene he is in with his jangly, nervous intensity."
—
The Atlantic
Posted Aug 12, 2011
|
|
|
82%
|
Rise of the Planet of the Apes (2011) |
"
[H]alf good and half bad, and the primary dividing line is by genus. "
—
The Atlantic
Posted Aug 5, 2011
|
|
|
44%
|
Cowboys & Aliens (2011) |
"
[A] phenomenally successful two-man war against narrative clarity and continuity. "
—
The Atlantic
Posted Jul 29, 2011
|
|
|
79%
|
Captain America: The First Avenger (2011) |
"
What lingers most about Captain America is its innocent, throwback ethos, a firm, unqualified embrace of the Little Guy."
—
The Atlantic
Posted Jul 22, 2011
|
|
|
96%
|
Harry Potter and the Deathly Hallows - Part 2 (2011) |
"
It's a pleasant irony that, just as the first installments of Rowling's oeuvre were better suited to page than screen, the final installments have reversed the relationship."
—
The Atlantic
Posted Jul 15, 2011
|
|
|
69%
|
Horrible Bosses (2011) |
"
Horrible Bosses offers a reminder that adherence to formula may not be among the signal virtues of comedy, but--provided the jokes are funny--it's no great vice either."
—
The Atlantic
Posted Jul 8, 2011
|
|
|
36%
|
Transformers: Dark of the Moon (2011) |
"
Despite its manifest improvements, there is something so sour and unpleasant about the new film that it left me almost nostalgic for the innocent idiocies of its predecessor."
—
The Atlantic
Posted Jul 1, 2011
|
|
|
89%
|
The Trip (2011) |
"
A comic diversion that aspires to the old Seinfeld gag of being 'about nothing.' "
—
The Atlantic
Posted Jun 17, 2011
|
|
|
26%
|
Green Lantern (2011) |
"
The superhero genre is the home-court of the underdog, of skinny Peter Parkers and mutant outcasts, of heroes born from pain or ingenuity. In Green Lantern, the rich get richer."
—
The Atlantic
Posted Jun 17, 2011
|
|
|
82%
|
Super 8 (2011) |
"
A love letter to a cinematic era, before 'blockbuster' became a synonym for 'franchise' or 'tent pole.' "
—
The Atlantic
Posted Jun 10, 2011
|
|
|
84%
|
The Tree of Life (2011) |
"
A beautiful, messy film: at times lyrical, intimate, and uplifting; at others, vast, inscrutable, and maddening."
—
The Atlantic
Posted Jun 3, 2011
|
|
|
34%
|
The Hangover Part II (2011) |
"
The missing person, the seamy urban setting, the gradual accretion of clues: The Hangover films are, essentially, hard-boiled crime stories spun into comic depravity."
—
The Atlantic
Posted May 27, 2011
|
|
|
33%
|
Pirates of the Caribbean: On Stranger Tides (2011) |
"
It has the feel of a TV drama renewed for one season too many, a last, furtive run at the till before it closes for business."
—
The Atlantic
Posted May 20, 2011
|
|
|
77%
|
Thor (2011) |
"
For those with a taste for the genre, Thor is a worthy addition to the pantheon."
—
The Atlantic
Posted May 6, 2011
|
|
|
72%
|
The Adjustment Bureau (2011) |
"
The Adjustment Bureau presents itself as a paean to free will, to overcoming obstacles, to creating your own destiny-provided, that is, that you happen to be a dude."
—
The Atlantic
Posted Mar 4, 2011
|
|
|
19%
|
Just Go with It (2011) |
"
In Funny People, it took a brush with terminal illness for Sandler to rediscover his craft and his self-respect. One can't help but wonder what it might take in real life."
—
The Atlantic
Posted Feb 11, 2011
|
|
|
43%
|
The Green Hornet (2011) |
"
There are elements of a sharp hero/sidekick inversion here: Kato is the handsome, brilliant inventor and karate expert; Britt is, well, rich enough to pay the salary of someone like Kato. But the inversion is inevitably incomplete. "
—
The Atlantic
Posted Jan 14, 2011
|
|
|
96%
|
True Grit (2010) |
"
The real reason to see the film is the work of the Coens' regular collaborators, cinematographer Roger Deakins and composer Carter Burwell, who supply the visual and auditory landscapes that are True Grit's most notable achievement."
—
The Atlantic
Posted Dec 24, 2010
|
|
|
87%
|
Black Swan (2010) |
"
Black Swan is vivid and engrossing, teetering between trash and art, a sleek exploitation borrowing from (among others) Fight Club and The Fly, Mulholland Drive and Persona."
—
The Atlantic
Posted Dec 3, 2010
|
|
|
72%
|
Red (2010) |
"
A lengthy procession of geriatric-assassin jokes [that] offers a chilling portent of what lies in store should soon-to-be-ex-Governor Schwarzenegger ever return to the big screen."
—
The Atlantic
Posted Oct 15, 2010
|
|
|
96%
|
The Social Network (2010) |
"
[P]roof that Fincher's directorial verve can imbue virtually any tale with urgency, be it the search for a killer or the search for a killer app."
—
The Atlantic
Posted Oct 1, 2010
|
|
|
55%
|
Wall Street: Money Never Sleeps (2010) |
"
[A]gainst all probability, 'Money Never Sleeps' is a watchable enough movie for its first hour or so.... But as the financial bubble pops, so too does the cinematic one."
—
The Atlantic
Posted Sep 24, 2010
|
|
|
32%
|
A Woman, A Gun and a Noodle Shop (San qiang pai an jing qi) (A Simple Noodle Story) (The First Gun) (2010) |
"
In Blood Simple, the cascading confusions lead to moral solitude and death; in Noodle Shop, the foremost misunderstanding involves a character who mistakes the phrase 'must die' for 'moose die.'"
—
The Atlantic
Posted Sep 17, 2010
|
|
|
66%
|
The American (2010) |
"
Early on, the priest explains to Jack, 'You have the hands of a craftsman, not an artist.' The American is the product of such hands as well: lovely in execution, if somewhat wanting in inspiration. "
—
The Atlantic
Posted Sep 3, 2010
|
|
|
62%
|
Salt (2010) |
"
[T]he limited, forgivable absurdities... gradually give way to a level of pandemic preposterousness that makes Ethan Hunt look like George Smiley."
—
The Atlantic
Posted Jul 23, 2010
|
|
|
86%
|
Inception (2010) |
"
Like his protagonist, Nolan excels as an implanter of subversive ideas. This time, alas, he didn't dig quite deep enough for them to take root. "
—
The Atlantic
Posted Jul 16, 2010
|
|
|
6%
|
The Last Airbender (2010) |
"
[T]he film works so hard to explain its plot developments that it scarcely has any time left over to dramatize them. Exposition has not merely vanquished mimesis, it has burned its homes to the ground and sown salt in its fields. "
—
The Atlantic
Posted Jul 2, 2010
|
|
|
52%
|
Knight & Day (2010) |
"
By the finale, it's hard to shake the sense that the movie has already expired, and everyone involved [is] just trying to prop it up, "Weekend at Bernie's"-style, long enough to heave it over the 100-minute mark. "
—
The Atlantic
Posted Jun 25, 2010
|
|
|
99%
|
Toy Story 3 (2010) |
"
As Lotso, Ned Beatty offers the most compelling portrait of avuncular villainy since, well, Ned Beatty in Network, and Michael Keaton's Ken is the quintessence of himbo-ism. "
—
The Atlantic
Posted Jun 18, 2010
|
|
|
73%
|
Iron Man 2 (2010) |
"
Even the director...seems to view the heavy clanking of mechanized men as a bit of a chore: the kind of well-prepared yet unremarkable meat course that must inevitably follow the delightful amuse bouche of Robert Downey Jr.'s portrayal of Stark."
—
The Atlantic
Posted May 7, 2010
|
|
|
76%
|
Invictus (2009) |
"
[T]he epitome of Hollywood filmmaking in ways both good and bad: uplifting, overlong, ambitious in scope but simple in moral vision, well-crafted but inured to irony."
—
The New Republic
Posted Dec 11, 2009
|
|
|
90%
|
Up in the Air (2009) |
"
Reitman has given us a witty, elegant movie that is nonetheless, like its protagonist, somewhat aloof from the vicissitudes experienced by mere mortals."
—
The New Republic
Posted Dec 4, 2009
|
|
|
89%
|
Red Cliff (Chi Bi) (2009) |
"
The biggest film of the year opens this week, though you may be forgiven if you haven't heard about it, as it has committed the unpardonable sin of being in Chinese."
—
The New Republic
Posted Nov 26, 2009
|
|
|
93%
|
Fantastic Mr. Fox (2009) |
"
The same eye for immaculate compositions that had seemed increasingly to hem in his human actors here serves as the basis for some of the most inventive animated set pieces this side of Nick Park."
—
The New Republic
Posted Nov 26, 2009
|
|
|
75%
|
The Road (2009) |
"
Is the film too grim? Or not grim enough? In a perverse way, I fear it's both."
—
The New Republic
Posted Nov 26, 2009
|
|
|
27%
|
The Twilight Saga: New Moon (2009) |
"
A landmark cinematic event in 280 words, or one for every $500,000 of weekend box office."
—
The New Republic
Posted Nov 24, 2009
|
|
|
87%
|
Bad Lieutenant: Port of Call New Orleans (2009) |
"
Making a bad movie this good is harder than it looks."
—
The New Republic
Posted Nov 20, 2009
|
|
|
91%
|
Precious: Based on the Novel Push by Sapphire (2009) |
"
[I]f Precious has a crucial flaw, it is that it is at once too bleak and too hopeful in its closing scenes: too bleak in the history it unearths, and too hopeful that the mere fact of the unearthing will make that history go away."
—
The New Republic
Posted Nov 13, 2009
|
|
|
39%
|
2012 (2009) |
"
[J]ust as the cyclones and tsunamis of The Day After Tomorrow ultimately succumbed to a bad case of narrative frostbite, 2012's ludicrous thrills begin burning themselves out by the movie's midpoint."
—
The New Republic
Posted Nov 13, 2009
|
|
|
94%
|
The Damned United (2009) |
"
One of [its] primary pleasures...is that, in choosing a topic as narrow and parochial as the fate of an English soccer club, Morgan has relieved himself of any duty to persuade us that the events he describes are of world-historical import."
—
The New Republic
Posted Oct 23, 2009
|
|
|
74%
|
Where the Wild Things Are (2009) |
"
Where the Wild Things Are may not be a great film for children (or, at least, most children). But it is something rarer still: a great, and unsparing, film about childhood."
—
The New Republic
Posted Oct 15, 2009
|
|
|
89%
|
A Serious Man (2009) |
"
Humor and empathy alike have trouble flourishing in the grim narrative soil the Coens provide, in which every cosmic joke is a black one."
—
The New Republic
Posted Oct 9, 2009
|
|
|
90%
|
Zombieland (2009) |
"
[E]verything Jennifer's Body was not--fast, funny, and fully aware of the obligations and opportunities inherent in the genre."
—
The New Republic
Posted Oct 5, 2009
|
|
|
25%
|
Fame (2009) |
"
Way back in 1980, when the Oscar-winning theme song of the movie Fame declared "I'm gonna live forever," it was easy to believe the lyric was an example of artistic license. Now, it's not so clear."
—
The New Republic
Posted Sep 25, 2009
|
|
|
78%
|
The Informant! (2009) |
"
[Damon] occupies his equivocating antihero utterly, capturing the Walter Mittyish self-delusion, the desperate desire to please, and the bottomless conviction that, whatever his transgressions, he's still one of the good guys."
—
The New Republic
Posted Sep 18, 2009
|
|
|
42%
|
Jennifer's Body (2009) |
"
[T]here's something a bit sour about the whole enterprise, a lack of fun that becomes more evident as the injuries and indignities piled upon poor Needy accumulate, and gradually crowd out the film's early tongue-in-cheekiness."
—
The New Republic
Posted Sep 18, 2009
|
|
|
63%
|
Extract (2009) |
"
[Extract] resembles its titular foodstuffs: less a fully realized comedy than the distillation of one. The ingredients are there, and the recipe as well, but Judge evidently forgot that the whole dish still needed cooking."
—
The New Republic
Posted Sep 4, 2009
|
|
|
89%
|
Inglourious Basterds (2009) |
"
The true moral universe in which the film unfolds is that of the spaghetti westerns...: a world in which the strong are above the law and the way to tell the good guys from the bad guys is not by their acts but by the kind of hats they wear."
—
The New Republic
Posted Aug 20, 2009
|
|
|
81%
|
Bakjwi (Thirst) (2009) |
"
[U]nlike most exercises in hematic excess--Richard Rodriguez's Planet Terror, for instance, or Tarantino's Kill Bill--Thirst offers not the consolations of camp but the intensity of opera."
—
The New Republic
Posted Aug 14, 2009
|
|
|
——
|
Thirst (1979) |
"
[U]nlike most exercises in hematic excess--Richard Rodriguez's Planet Terror, for instance, or Tarantino's Kill Bill--Thirst offers not the consolations of camp but the intensity of opera."
—
The New Republic
Posted Aug 14, 2009
|
|
|
90%
|
District 9 (2009) |
"
District 9 succeeds brilliantly as an exercise in style, but the style promises a level of substance the film never quite delivers."
—
The New Republic
Posted Aug 14, 2009
|
|
|
34%
|
G.I. Joe: The Rise of Cobra (2009) |
"
Sometimes, a film defies conventional narrative and artistic standards so utterly that it seems unfair to judge it by them.... Consider this a tone poem in 40 scraps of dialogue."
—
The New Republic
Posted Aug 11, 2009
|
|
|
75%
|
Julie & Julia (2009) |
"
[T]he whole enterprise has a whiff of marketing to it. Did the filmmakers worry that Child wouldn't be 'relatable' to contemporary women? Was there a fear that the 18-35 demographic would decline to show up if it didn't have an onscreen representative?"
—
The New Republic
Posted Aug 7, 2009
|
|
|
68%
|
Funny People (2009) |
"
The movie...feels like the work of an artist in transition, an attempt by Apatow to see how far he can push his foul-mouthed bromances toward earnest drama before finally having to let go of the dick jokes."
—
The New Republic
Posted Jul 30, 2009
|
|
|
13%
|
The Ugly Truth (2009) |
"
I think it's safe to say that the concerns about sexism in cinema that Heigl voiced so ardently after her career-making turn in Knocked Up have ebbed in direct proportion to the increases in her subsequent paychecks."
—
The New Republic
Posted Jul 28, 2009
|
|
|
97%
|
The Hurt Locker (2009) |
"
Like her protagonist, Bigelow is both a meticulous technician and a ballsy showoff. And, like him, she has ice water in her veins."
—
The New Republic
Posted Jul 24, 2009
|
|
|
87%
|
500 Days of Summer (2009) |
"
Captures with such immediacy the elation and anxiety of new love, the tingle and the terror, the profound sense that you have never been more alive and the occasional wish that you could die on the spot."
—
The New Republic
Posted Jul 24, 2009
|
|
|
67%
|
Brüno (2009) |
"
It's an odd cop-out for so fiercely gifted a comedian.... This is not a man who is doomed to be Allen Funt, or for that matter, Ashton Kutcher. He doesn't need to rely on the easy titillations and voyeuristic pull of reality TV."
—
The New Republic
Posted Jul 10, 2009
|
|
|
68%
|
Public Enemies (2009) |
"
If John Dillinger had not existed... Michael Mann would have had to invent him."
—
The New Republic
Posted Jul 3, 2009
|
|
|
20%
|
Transformers: Revenge of the Fallen (2009) |
"
If it sounds as though the script (credited to Ehren Kruger, Robert Orci, and Alex Kurtzman) was written in serial-novel form during an all-night mescaline bender, well, I have no evidence that it was not."
—
The New Republic
Posted Jun 26, 2009
|
|
|
67%
|
Away We Go (2009) |
"
You may very well enjoy Away We Go more than I did. But rest assured that you will never love this movie as much as it loves itself."
—
The New Republic
Posted Jun 16, 2009
|
|
|
50%
|
The Taking of Pelham 1 2 3 (2009) |
"
Pelham is not merely a film that may induce seizures in those who are susceptible; it is a film that seems engineered to approximate the experience of a seizure for those who are not."
—
The New Republic
Posted Jun 12, 2009
|
|
|
64%
|
The Girlfriend Experience (2009) |
"
There are layers upon layers here--a porn star taking on a serious acting role in which she plays a woman whose job is to make herself an object of male fantasy--but it's unclear whether Grey is aware of any of them."
—
The New Republic
Posted Jun 8, 2009
|
|
|
98%
|
Up (2009) |
"
[A] kid's adventure yarn embedded in a grownup tale about grief and regret, purposes lost and rediscovered."
—
The New Republic
Posted May 29, 2009
|
|
|
33%
|
Terminator Salvation (2009) |
"
Intensity need not be the enemy of personality, but in Bale's work it too often has been."
—
The New Republic
Posted May 22, 2009
|
|
|
37%
|
Angels & Demons (2009) |
"
[T]he film does not conclude with Langdon being elected Pope himself, but, watching the spiraling inanities of the last 20 minutes, one might be forgiven for thinking it would be the next logical step."
—
The New Republic
Posted May 15, 2009
|
|
|
95%
|
Star Trek (2009) |
"
In his daft, dizzy reinvention of a moribund franchise, Abrams has found a way to be referential without being reverential, to conjure nostalgia without being constrained by it."
—
The New Republic
Posted May 8, 2009
|
|
|
38%
|
X-Men Origins - Wolverine (2009) |
"
Though Jackman is capable, as always, in the title role, there's no real weight to his travails, which play more as exposition than tragedy."
—
The New Republic
Posted May 1, 2009
|
|
|
56%
|
The Soloist (2009) |
"
[Director Joe Wright's] treatment of the material is so literal that at times the film seems like a syllabus for Remedial Cinematic Technique 101."
—
The New Republic
Posted Apr 24, 2009
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84%
|
State of Play (2009) |
"
[A] film that has spent an hour and forty-five minutes puffing itself into a battle for the Soul of American Democracy feebly hisses its way to a deflated conclusion."
—
The New Republic
Posted Apr 17, 2009
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|
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51%
|
Observe and Report (2009) |
"
[T]he upbeat ending--which comes on the heels of a genuinely shocking climax--is so incongruous that, as with The King of Comedy, it almost seems we're being dared to question whether it is real or delusion."
—
The New Republic
Posted Apr 10, 2009
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