|
1/5
|
60%
|
Haiku Tunnel (2001) |
"
Almost from the beginning, it's obvious that Haiku Tunnel is a 40-minute short that imagines itself as a feature film."
—
New York Times
Posted Sep 13, 2001
|
|
1/5
|
29%
|
Captain Corelli's Mandolin (2001) |
"
As the movie methodically plods forward on a screenplay (by Shawn Slovo) consisting entirely of clichés and watered-down exposition, it becomes sadly apparent that its only reliable asset is the gorgeous view."
—
New York Times
Posted Aug 16, 2001
|
|
1/5
|
26%
|
Swordfish (2001) |
"
A meticulously choreographed bang-by-the-numbers action fantasy that I would accuse of peddling evil if the film weren't so dumb and incoherent."
—
New York Times
Posted Jun 7, 2001
|
|
1/5
|
67%
|
Two Ninas (2000) |
—
New York Times
Posted Apr 17, 2001
|
|
1/5
|
27%
|
Love, Honour And Obey (2001) |
—
New York Times
Posted Apr 16, 2001
|
|
1/5
|
9%
|
Say It Isn't So (2001) |
"
Even by the proudly vulgar, dumbed-down standards of the Farrelly Brothers' novelty products, Say It Isn't So is an uninspired dud."
—
New York Times
Posted Mar 23, 2001
|
|
1/5
|
0%
|
Ed (1996) |
"
Mr. LeBlanc ... is so blank that the only impression he makes is of having teeth that are very large and unnaturally white."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
12%
|
The Crow: City of Angels (1996) |
"
Utterly devoid of energy and shock value."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
9%
|
Eye of the Beholder (2000) |
"
Impenetrable mess of a movie."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
7%
|
Woo (1998) |
"
An incoherent romantic comedy whose sexy title character (played by Ms. Smith) is an unbearable, unfunny pain in the neck."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
53%
|
Payback (1999) |
"
Its smirking sense of humor and generic self-consciousness suggest that Payback would like to think of itself as a hip descendant of Pulp Fiction. But the movie is utterly devoid of narrative ingenuity and visual and dramatic flair."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
53%
|
How the Grinch Stole Christmas (2000) |
"
Shrill, overstuffed, spiritless cinematic contraption."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
7%
|
I Still Know What You Did Last Summer (1998) |
"
I Still Know What You Did Last Summer isn't the end of the line for the series (a third movie is already in the works), but it deserves to be."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
8%
|
Turn It Up (2000) |
"
Eventually Turn It Up deteriorates into a gory shoot-'em-up gangster movie with a quick-fix ending that leaves many threads dangling. It could have been something more."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
——
|
Intern (2000) |
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
85%
|
The Sixth Sense (1999) |
"
Gaggingly mawkish supernatural kitsch."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
3%
|
McHale's Navy (1997) |
"
Leaky PT-boat of a comedy."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
7%
|
Friends & Lovers (1999) |
"
An inept farce with the mentality of a tittering 15-year-old boy peering under the bedcovers with a flashlight."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
22%
|
Stigmata (1999) |
"
At first seems to be about the Second Coming but turns out to be a half-baked anticlerical screed."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
12%
|
Play It to the Bone (1999) |
"
Play It to the Bone is so constrained by its formulaic plot that the movie's juicy, freewheeling dialogue feels shoehorned into a story that makes more sense mathematically than psychologically."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
29%
|
Goodbye Lover (1998) |
"
Once the thud of its wooden dialogue has settled into a deadly mechanical clomp -- about 10 minutes into the film -- you wonder why this risible movie didn't go straight to video."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
50%
|
The Weekend (2000) |
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
33%
|
Final Destination (2000) |
"
Even by the crude standards of teenage horror, Final Destination is dramatically flat."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
27%
|
Trixie (2000) |
"
Despite its occasional flashes of brilliance (every Rudolph film has them), this unsavory stew never comes to a boil."
—
New York Times
Posted Jan 1, 2000
|
|
1/5
|
67%
|
Looking For An Echo (1998) |
—
New York Times
Posted Jan 1, 2000
|
|
|
9%
|
Happiness Runs (2010) |
"
This strident exposé may gladden the hearts of some anti-'60s conservatives, but it is a shapeless mess steeped in prurience."
—
New York Times
Posted May 7, 2010
|
|
|
13%
|
Street Fighter (1994) |
"
A dreary, overstuffed hodgepodge of poorly edited martial arts sequences and often unintelligible dialogue."
—
New York Times
Posted Aug 30, 2004
|
|
|
91%
|
My Neighbor Totoro (1988) |
"
Too much of the film...is taken up with stiff, mechanical chitchat."
—
New York Times
Posted Aug 30, 2004
|
|
|
57%
|
The Thing Called Love (1993) |
"
Although well acted, with early scenes that deftly sketch the atmosphere, the movie, written by Carol Heikkinen, never takes off."
—
New York Times
Posted Aug 30, 2004
|
|
|
14%
|
Cyborg (1989) |
"
Mr. Van Damme's Gibson is so opaque that he makes Mel Gibson's Mad Max seem weepy by comparison."
—
New York Times
Posted May 20, 2003
|
|
1/4
|
31%
|
Rapid Fire (1992) |
"
The movie is shameless in exploiting the father-son connection to try to make the star, who exudes a bored, dead-eyed cool, seem sympathetic."
—
New York Times
Posted May 20, 2003
|
|
|
51%
|
Waking the Dead (2000) |
"
Painfully earnest."
—
New York Times
Posted May 20, 2003
|
|
|
64%
|
Selena (1997) |
"
By the end of the film, Selena has been all but canonized."
—
New York Times
Posted May 20, 2003
|
|
|
0%
|
Only the Strong (1993) |
"
A movie that exists solely for its fight sequences and to show off its star's muscles and gymnastic grace."
—
New York Times
Posted May 20, 2003
|
|
|
12%
|
A Thin Line Between Love and Hate (1996) |
"
Too serious to be a comedy, too flippant to be a thriller, it often feels like a backhanded act of penance for the misogynist humor in the star's comedy act."
—
New York Times
Posted May 20, 2003
|
|
|
29%
|
Escape to Life: The Erika and Klaus Mann Story (2002) |
"
The re- enactments, however fascinating they may be as history, are too crude to serve the work especially well."
—
New York Times
Posted Mar 28, 2002
|
|
|
80%
|
Sunday (1997) |
"
Feels more and more like an overly schematic exercise in cinematic hide-and-seek."
—
New York Times
Posted Apr 17, 2001
|
|
|
40%
|
Wide Awake (1998) |
"
Beneath its suffocating, smug sentimentality, you have to look hard to uncover a single moment of truth and genuine feeling."
—
New York Times
Posted Jan 1, 2000
|
|
|
31%
|
Treasure Island (1999) |
"
For all the ideas it tosses around -- and many of them are useful and painful correctives to our rose-colored fantasies -- Treasure Island is too crude a movie to muster much rhetorical clout."
—
New York Times
Posted Jan 1, 2000
|
|
|
26%
|
Anna Karenina (1997) |
"
This sleek, Cliffs Notes version of a masterpiece is ... glossy and picture perfect on the surface and hollow at the core."
—
New York Times
Posted Jan 1, 2000
|
|
|
42%
|
Polish Wedding (1998) |
"
A nearly laugh-free comedy!"
—
New York Times
Posted Jan 1, 2000
|
|
|
69%
|
Collectors (2000) |
"
The movie has no soul. Watching it is like observing a macabre dog and pony show."
—
New York Times
Posted Jan 1, 2000
|
|
|
86%
|
Anastasia (1997) |
"
Judging from their voices, about as close to Europe as most of these characters have ever gotten is probably Fresno."
—
New York Times
Posted Jan 1, 2000
|
|
|
79%
|
Rumble in the Bronx (1995) |
"
A giddy triple somersault of a film that makes no sense whatsoever, although in its best moments it is as much fun to watch as a death-defying circus act."
—
New York Times
Posted Jan 1, 2000
|
|
|
54%
|
What Dreams May Come (1998) |
"
All the weeping and hugging the characters do can't make up for the film's fatal lack of texture and psychological nuance."
—
New York Times
Posted Jan 1, 2000
|
|
|
13%
|
Lost and Found (1999) |
"
A rancid little nothing of a movie!"
—
New York Times
Posted Jan 1, 2000
|
|
|
64%
|
The House of Yes (1997) |
"
There are many gaping holes between the funny moments."
—
New York Times
Posted Jan 1, 2000
|
|
|
55%
|
The Mummy (1999) |
"
A gaudy comic video game splashed onto the screen!"
—
New York Times
Posted Jan 1, 2000
|
|
|
33%
|
The Love Letter (1999) |
"
Bland dialogue and dull sitcom acting!"
—
New York Times
Posted Jan 1, 2000
|
|
|
6%
|
Spy Hard (1996) |
"
When Spy Hard abruptly ends after only 81 minutes, you sense that it has used up every last round of available ammunition. It was simply exhausted and couldn't move another inch."
—
New York Times
Posted Jan 1, 2000
|
78%
50%
100%
85%
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