Dan Callahan

Agrees with the Tomatometer 78% of the time.

Bright Lights Film Journal , House Next Door , Reverse Shot , RogerEbert.com , Slant Magazine , TheWrap , ToxicUniverse.com
Critics' Group:
Online Film Critics Society
Total Reviews:
Total QuickRatings:

Listing Of All Reviews & Articles

Showing 51 - 100 of 212
Rating T-Meter Title | Year Add Date
80% A Time to Love and a Time to Die (Will o' the Wisp) (1958) " Sirk is a past master of handling the most dubious writing and acting and still somehow making it conform to his overall vision." — Slant Magazine
Posted Oct 15, 2009
—— La Bandera (1939) " Was Julien Duvivier an auteur (like his countryman Jean Renoir), a skilled craftsman (like Michael Curtiz) or a pure hack (like, say, Ray Enright)?" — Slant Magazine
Posted Aug 5, 2009
55% Chelsea Girls (1966) " The dueling image visual feast is endlessly stimulating, even if you don't take the requisite drugs beforehand." — Slant Magazine
Posted Aug 5, 2009
2.5/4 75% Julie & Julia (2009) " There's almost no conflict in either of the stories presented in Julie & Julia, and though this is preferable to contrived conflict, it still leaves us with a rather overlong, lovey-dovey picture." — Slant Magazine
Posted Aug 5, 2009
94% Les Plages d'Agnès (The Beaches of Agnes) (2008) " Varda turns the camera on herself and her own life, even though she convincingly posits that she's much more interested in other people." — House Next Door
Posted Jul 2, 2009
2/4 50% Chéri (2009) " Cheri strikes a jarring note right from the start." — Slant Magazine
Posted Jun 25, 2009
—— Interlude (1957) " During the last twenty minutes of Interlude, Sirk goes in for the kill" — Slant Magazine
Posted Feb 10, 2009
3.5/4 82% Two Lovers (2008) " The buried themes in James Gray's fourth film, Two Lovers, slowly emerge from its accumulation of quotidian, seemingly small details." — Slant Magazine
Posted Feb 9, 2009
68% Revolutionary Road (2008) " Revolutionary Road is not a great film, per se; a great film needs the stamp of a great director. But it is a great film of this great book." — House Next Door
Posted Dec 15, 2008
2.5/4 78% Doubt (2008) " Doubt doesn't work fully on screen as it did on stage, but it's worth seeing for Streep's grace notes." — Slant Magazine
Posted Dec 7, 2008
67% Les Amours d'Astrée et de Céladon (Romance of Astrea and Celadon) (2008) " Eric Rohmer has said that The Romance of Astrea and Celadon is probably his swan song, and he's not pulling any punches here." — Slant Magazine
Posted Nov 25, 2008
100% Anita O'Day: The Life of a Jazz Singer (2007) " The great jazz singer Anita O'Day operated in some far-out be-bop realm of her own." — Slant Magazine
Posted Nov 25, 2008
—— The Furies (1950) " At its core, The Furies is a passionate stand off between a father and a daughter, played by a rip-snorting Walter Huston (in his last role on screen) and a primal Barbara Stanwyck." — Slant Magazine
Posted Nov 25, 2008
97% Breathless (À bout de souffle) (By a Tether) (1961) " We can't really look at Jean-Luc Godard's Breathless with fresh eyes, any more than we can see Citizen Kane or Sunrise for the first time." — Slant Magazine
Posted Nov 25, 2008
70% The Duchess of Langeais (Ne Touchez Pas La Hache)(Don't Touch the Axe) (2007) " Balibar's sly mouth tightens with mean glee as she plays all the Duchesses' games, and Depardieu's brooding, battered face ceaselessly signals the General's suppressed, sexualized violence." — Slant Magazine
Posted Nov 25, 2008
86% The Witnesses (Les Temoins) (2007) " Téchiné films Johan Libéreau, who plays Manu, the fresh-faced young boy coming of age in The Witnesses, with the sort of discretion that gives mystery and dignity to human beauty." — Slant Magazine
Posted Nov 25, 2008
86% Sweeney Todd: The Demon Barber of Fleet Street (2007) " Filming a major Broadway musical has always been trouble for moviemakers; none of them seem to work." — Slant Magazine
Posted Nov 25, 2008
100% Gycklarnas afton (Sawdust and Tinsel)(Sunset of a Clown)(The Naked Night) (1953) " Sawdust and Tinsel is Bergman's first film where the idea of humiliation, specifically sexual humiliation, becomes crucial to his conception." — Slant Magazine
Posted Nov 25, 2008
100% Lili (1953) " This MGM movie is studio-system filmmaking at its most protective, and it's designed entirely to showcase Leslie Caron" — Slant Magazine
Posted Nov 25, 2008
81% A Prairie Home Companion (2006) " It is obviously the film of a master and certainly feels like a swan song." — Bright Lights Film Journal
Posted Nov 25, 2008
100% The Window " The Window (1949) is the kind of movie probably best experienced as a child of 11 or 12, plagued by insomnia, moved to turn on late night television." — Slant Magazine
Posted Nov 25, 2008
61% Forty Shades of Blue (2005) " Forty Shades of Blue is wonderfully unconventional, truthful and touching." — Slant Magazine
Posted Nov 25, 2008
95% Höstsonaten (Autumn Sonata) (1978) " Ingmar says, "No." Ingrid says, "Yes." They're both right and both wrong, but it is Ingrid, in her last feature film performance, whose "Yes" carries more conviction and authority." — Slant Magazine
Posted Nov 25, 2008
100% Cría Cuervos (Cria!) (Raise Ravens) (1976) " A seamless story about memory and fantasy blurring together, Cría cuervos is unquestionably Carlos Saura's greatest film." — Slant Magazine
Posted Nov 25, 2008
72% Inland Empire (2006) " David Lynch's Inland Empire, which runs 172 minutes, keeps collapsing in on itself." — Slant Magazine
Posted Nov 25, 2008
90% Rescue Dawn (2007) " Most critics have approached Werner Herzog's latest film Rescue Dawn with qualifying kid gloves, as if it would be impolite to question a late work from such a grand old man of the seventies German New Wave." — Slant Magazine
Posted Nov 25, 2008
94% Away from Her (2007) " Sometimes extreme physical beauty grows more complex, more satisfying with age; it's rare, but it happens." — Slant Magazine
Posted Nov 25, 2008
51% For Your Consideration (2006) " For Your Consideration might indeed be a bridge too far for the Guest troupe, but seeing it makes you want to liberate his inventive women for other projects" — Slant Magazine
Posted Nov 25, 2008
92% Chris & Don: A Love Story (2007) " There are many reasons to see Chris & Don, but the best one I can think of is the chance to see Isherwood and his best friend W.H. Auden, probably the greatest poet of the twentieth century, jumping around together like middle-aged schoolboys in beguiling" — Slant Magazine
Posted Nov 25, 2008
94% Milk (2008) " A paint-by numbers biopic of the tireless activist that wastes the efforts of some fine actors." — House Next Door
Posted Nov 25, 2008
2/4 55% Australia (2008) " An unwieldy stab at an old-fashioned movie epic, Baz Luhrmann's Australia is corny, implausible, well intentioned and even somewhat enjoyable in its own way, at least for a while." — Slant Magazine
Posted Nov 23, 2008
19% Factory Girl (2007) " In Factory Girl, a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar, Edie Sedgwick, Sienna Miller makes Sedgwick into an archetypal over-confident blond with a mannered young Kathleen Turner croak." — House Next Door
Posted Nov 6, 2008
3.5/4 100% La Ronde (1950) " Each vignette conforms to a tight, outgrowing pattern, so that they each have equal weight, even if Danielle Darrieux's first segment is the one that lingers in the mind." — Slant Magazine
Posted Sep 12, 2008
2/4 13% The Women (2008) " The original version of The Women, shrill and campy as it can be, is miles ahead of this remake when it comes to issues of class and social maneuvering." — Slant Magazine
Posted Sep 7, 2008
2.5/4 63% Brideshead Revisited (2008) " This new Brideshead takes a step in the right direction, but it's time some radical writer or filmmaker dared to leave out the dim Julia charade and let Charles and Sebastian play out their Isherwood/Auden Oxford love match to its full." — Slant Magazine
Posted Jul 21, 2008
1/4 54% Mamma Mia! (2008) " This film version of Mamma Mia! is such a full-scale disaster in every way that it's hard to know what has held theatergoers' attention for so long." — Slant Magazine
Posted Jul 13, 2008
2/4 50% The Pied Piper (1972) " Jacques Demy's version of The Pied Piper is as distanced and uncertain as his masterpiece The Young Girls of Rochefort is ecstatically sure of itself." — Slant Magazine
Posted Jun 7, 2008
2/4 90% Le Feu follet (A Time to Live and a Time to Die) (The Fire Within) (1963) " To be frank, Fire Within devastated me when I saw it in college, but the unrelieved ennui that struck me as scrupulously honest and brave then looks one-note and aimless to me now." — Slant Magazine
Posted May 5, 2008
2.5/4 100% Les Amants (The Lovers) (1958) " This film is nowhere close to Ophuls's landmark, but it did inaugurate Moreau's extraordinary run of '60s art films in high style." — Slant Magazine
Posted May 5, 2008
2.5/4 91% The Nanny (1965) " A rather quiet, cautious thriller that gives Davis more room for characterization than most of her later films." — Slant Magazine
Posted Mar 31, 2008
2/4 —— The Virgin Queen (1955) " Henry Koster's direction is competent, for him, but Franz Waxman's music is no substitute for Erick Wolfgang Korngold's classic score for Elizabeth and Essex." — Slant Magazine
Posted Mar 31, 2008
3.5/4 —— Daisy Kenyon (1947) " Fairly recently, Otto Preminger's Daisy Kenyon has been starting to get some of the acclaim and attention it deserves." — Slant Magazine
Posted Mar 11, 2008
2.5/4 22% Bobby Deerfield (Heaven Has No Favorites) (1977) " Pacino is at his best: precise, internal, magnetically cute, and expert at capturing the fear in this man's turtle-like existence and his longing for change." — Slant Magazine
Posted Mar 9, 2008
3/4 89% Shoot the Moon (1982) " Parker and Goldman seem to want this battling couple to represent a sort of romantic '60s point of view, and they show up the younger lovers as shallow, '70s-style hedonists." — Slant Magazine
Posted Nov 25, 2007
2.5/4 —— I'll Cry Tomorrow (1955) " In the '40s, Hayward had a distinctive and rather bitchy sex appeal and clear hunger for stardom that gave way in the '50s to a weary but still authoritative command of frank self-pity and tough-broad defiance." — Slant Magazine
Posted Nov 18, 2007
3.5/4 57% We Own the Night (2007) " We Own the Night confirms James Gray's position as a major American film director." — Slant Magazine
Posted Oct 11, 2007
3.5/4 100% Leave Her to Heaven (1945) " A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl's best-known film." — Slant Magazine
Posted Sep 18, 2007
3/4 71% The Pirate (1948) " The Pirate takes place in some Caribbean of the mind, with lots of shadows and lace and high mantillas, and it's all about the promise of sex; the film keeps tapping into a nervous, adolescent sort of fear and desire." — Slant Magazine
Posted Jul 18, 2007
3/4 75% Les Enfants terribles (The Strange Ones) (1950) " Les Enfants Terribles is very much a fantasy, an accumulation of suggestive, slightly obscure visual details, offset somewhat by Cocteau's too-literary, over-explicit narration." — Slant Magazine
Posted Jul 18, 2007
2/4 71% The Morning After (1986) " Sidney Lumet directs wearily; as a thriller, it's full of holes." — Slant Magazine
Posted Jun 17, 2007
3.5/4 74% La Vie en Rose (La Mome) (2007) " Edith Piaf's tidal emotional vulgarity and brutish commitment to the most sentimental chansons is captured accurately and even irresistibly in La Vie En Rose." — Slant Magazine
Posted Jun 3, 2007
Showing 51 - 100 of 212
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