|
72%
|
Syriana (2005)
|
"In some ways, we're the protagonist, and when the strands coalesce in the last hour and we glimpse the bigger picture, Syriana finally eats into the mind."
|
David Edelstein
|
|
82%
|
Walk the Line (2005)
|
"In spite of its standard biopic gaps and simplifications, Walk the Line gets the big things right."
|
David Edelstein
|
|
59%
|
The Weather Man (2005)
|
"The Weather Man is a fine movie, beautifully acted, but it isn't easy to love -- or to watch."
|
David Edelstein
|
|
93%
|
Good Night, And Good Luck (2005)
|
"A passionate and rousing piece of filmmaking -- a civics lesson with the punch of a good melodrama."
|
David Edelstein
|
|
86%
|
Junebug (2005)
|
"It's hugely entertaining, it's spectacularly acted, and it pricks you in all kinds of places."
|
David Edelstein
|
|
94%
|
March of the Penguins (2005)
|
"The movie easily transcends the 'Isn't-that-amazing?' animal genre."
|
David Edelstein
|
|
82%
|
Hustle & Flow (2005)
|
"What's missing in this self-proclaimed story of redemption, though, is something other than a fairy-tale finale. It's the sense that the filmmaker understands the consequences of exploiting women even if his protagonist doesn't."
|
David Edelstein
|
|
81%
|
Me and You and Everyone We Know (2005)
|
"The acting is marvelous, all the way down the line."
|
David Edelstein
|
|
88%
|
Rois et Reine (Kings and Queen) (2005)
|
"An emotional jigsaw that will keep you engrossed for days, maybe years."
|
David Edelstein
|
|
87%
|
Comme une Image (Look at Me) (Like an Image) (2005)
|
"It builds, almost imperceptibly, to a vision of a world in which no one looks at anyone, at least deeply enough to see beyond the trappings of beauty or fame."
|
David Edelstein
|
|
75%
|
The Upside of Anger (2005)
|
"The Upside of Anger is the upside of Allen."
|
David Edelstein
|
|
15%
|
Diary of a Mad Black Woman (2005)
|
"Half inspired and half eye-rollingly terrible."
|
David Edelstein
|
|
75%
|
Hell's Highway: The True Story of Highway Safety Films (2003)
|
|
David Edelstein
|
|
94%
|
Manito (2003)
|
|
David Edelstein
|
|
81%
|
Better Luck Tomorrow (2002)
|
"Though it doesn't fully transcend its small budget (the lighting is dingy), the story feels rooted in something more solid than prefab posturing."
|
John Powers
|
|
77%
|
The Good Thief (2003)
|
|
John Powers
|
|
87%
|
The Quiet American (2003)
|
|
John Powers
|
|
71%
|
All the Real Girls (2003)
|
"Green is attuned to the poetry of ordinary life, with its longueurs and sudden bursts of deep emotion."
|
John Powers
|
|
81%
|
The Hours (2002)
|
|
John Powers
|
|
85%
|
About Schmidt (2002)
|
"Nicholson himself has done all you could ask: This is easily his strongest work since he did Reds and The Border back-to-back 20 years ago."
|
John Powers
|
|
60%
|
K-19: The Widowmaker (2002)
|
|
Henry Sheehan
|
|
76%
|
Igby Goes Down (2002)
|
|
David Edelstein
|
|
76%
|
Frida (2002)
|
|
David Edelstein
|
|
48%
|
City by the Sea (2002)
|
|
David Edelstein
|
|
92%
|
Mostly Martha (Bella Martha) (2001)
|
|
David Edelstein
|
|
97%
|
Read My Lips (Sur mes lèvres) (2002)
|
|
John Powers
|
|
95%
|
Lagaan - Once Upon a Time in India (2001)
|
|
John Powers
|
|
44%
|
Divine Secrets of the Ya-Ya Sisterhood (2002)
|
|
John Powers
|
|
75%
|
Secretary (2002)
|
|
David Edelstein
|
|
72%
|
Auto Focus (2002)
|
|
David Edelstein
|
|
59%
|
The Sum of All Fears (2002)
|
|
Armond White
|
|
96%
|
Time Out (L' Emploi du temps) (2002)
|
|
John Powers
|
|
22%
|
Mr. Deeds (2002)
|
|
Henry Sheehan
|
|
76%
|
8 Mile (2002)
|
"What saves all this from being purely conventional is the filmmaker's keen sense of Rabbit's essential solitude as an artist, even when surrounded by friends."
|
John Powers
|
|
79%
|
Punch-Drunk Love (2002)
|
"While it would be stretching it to say that Sandler gives a great performance, he brings Barry alive with a shtick-free, often soulful piece of acting that expands and deepens our sense of his persona."
|
John Powers
|
|
96%
|
Bowling for Columbine (2002)
|
"Although he'd have made a crackerjack ad man, [Moore's] a slipshod filmmaker, and the movie quickly collapses, burying its subject beneath bumper-sticker rehashes of received ideas."
|
John Powers
|
|
93%
|
Insomnia (2002)
|
"Seitz ... manages to preserve what gave the original film its power -- gravity, interiority and a sense of moral unease -- yet still endow the action with an enjoyable Hollywood sheen."
|
John Powers
|
78%
47%
100%
85%
45%
40%
