|
63%
|
The Great Northfield Minnesota Raid (1972)
|
"Kaufman's own script never gels and the whole exercise, admirable as it is and enlivened by quirky decidedly unwestern like humour, fails to make much dramatic impact."
|
|
|
40%
|
A Royal Scandal (1945)
|
"Not a bad way to spend an hour and a half, but a strange anti-climax for Preminger after the brilliance of Laura, and a sad mark of Lubitsch's declining powers."
|
|
|
29%
|
Hurry Sundown (1967)
|
"You'll come away feeling that although it's worthy in its ideals, it could have done with a touch less overblown melodrama."
|
|
|
81%
|
...And Justice For All (1979)
|
"Pacino does his best with a well-meaning but unfocused script, which often concentrates too much on politics, thus failing to do justice to its characters."
|
|
|
91%
|
Scandal (1989)
|
"A quality cast, polished writing and the atmospheric evocation of Soho and Whitehall sleaze make for a powerful depiction of Ward's fall from grace."
|
Jon Fortgang
|
|
46%
|
Agnes of God (2002)
|
"Jewison thankfully offers no easy conclusions or happy endings, but he also brings up little to add to the theological debate."
|
|
|
100%
|
A Hijacking (2013)
|
"the considerable tensions of A Hijacking derive not from melodrama, heroics or triumphalism, but rather from the very lack of these. "
|
Anton Bitel
|
|
80%
|
Fiddler on the Roof (1971)
|
"A joyous celebration, not only of roots and culture, but of life itself."
|
|
|
60%
|
Gaily, Gaily ()
|
"Regrettably, a silly script and some contrived comedy serve to highlight this as one of Jewison's weaker efforts."
|
|
|
0%
|
The Art of Love (1965)
|
"Complications arise when Van Dyke returns and discovers Garner's scam. He is not impressed. Neither will you be."
|
|
|
76%
|
Tommy (1975)
|
"Overlong, over-indulgent, overdone."
|
|
|
98%
|
One False Move (1992)
|
"It exerts an almost macabre fascination as we track the killers bloody trail across several states to their inevitable deaths."
|
|
|
88%
|
Star Trek Into Darkness (2013)
|
"As brash, spectacular and energetic as its immediate predecessor, but without novelty on its side "
|
Michael Leader
|
|
96%
|
On the Town (1949)
|
"One of the last great movie musicals."
|
|
|
36%
|
Dead Man Down (2013)
|
"A lifeless attempt to fuse a taut crime thriller and a complex psychological drama."
|
Nigel Floyd
|
|
60%
|
I'm So Excited! (2013)
|
"Almodovar gleefully returns to the broad, colourful burlesque of his early work. Although, without the transgressive attitude and closeted context, this sexy satire is all froth and no balls."
|
Michael Leader
|
|
91%
|
Gimme The Loot (2013)
|
"Endlessly entertaining, refreshingly light-hearted and bursting with summer soul, Gimme The Loot joins the pantheon of great New York movies."
|
Jack Jones
|
|
——
|
Bitka na Neretvi (The Battle of the River Neretva) (The Battle of Neretva) (1969)
|
"Despite being mauled in the editing suite, this remains a fine war movie and a powerful reminder that WWII was fought on many fronts."
|
|
|
80%
|
Breaking the Sound Barrier (The Sound Barrier) (1952)
|
"A great British film that celebrates technological achievement while also questioning the virtues of such achievement."
|
Daniel Etherington
|
|
98%
|
The Wild Bunch (1969)
|
"One of the great artistic achievements of the 20th century. And a bloody awesome western to boot!"
|
|
|
93%
|
The Man Who Shot Liberty Valance (1962)
|
"John Ford's last great film, The Man Who Shot Liberty Valance is also one of the last classic Westerns to come out of Hollywood."
|
Richard Luck
|
|
90%
|
Bernie (2012)
|
"A sweet, dark, funny true-crime story with a dream cast - and that includes the real-life residents of the town of Carthage, Texas."
|
Rebecca Davies
|
|
78%
|
Iron Man 3 (2013)
|
"Shane Black's witty, daring continuation of the Iron Man series defies expectations at every turn, not least because it is, against all odds, a strong contender for the best Marvel movie to date."
|
Michael Leader
|
|
80%
|
Fight Club (1999)
|
"A controversial satire and a contemporary classic."
|
Richard Luck
|
|
62%
|
Evil Dead (2013)
|
"A decent, gory horror treat for those who've never watched an Evil Dead movie - while at the same time exhibiting discreet respect for the 1980s incarnations, with plenty of low-key nods to the original for fans."
|
Catherine Bray
|
|
75%
|
Love Is All You Need (2013)
|
"While it's always commendable when filmmakers attempt to broach new territory, this disappointingly slight rom-com does not live up to director Susanne Bier and writer Anders Thomas Jensen's more serious work."
|
Rebecca Davies
|
|
81%
|
Flash Gordon (1980)
|
"There's plenty of colourful fun and an awful lot of men in tights. Don't listen to its pofaced detractors -- for sheer cinema fun, Flash Gordon can't be beaten."
|
|
|
92%
|
The Gatekeepers (2013)
|
"A fascinating film offering a startling look inside one of the most tightlipped intelligence agencies on the planet, and providing powerful resonances with the US and UK's "war on terror"."
|
MaryAnn Johanson
|
|
56%
|
Oblivion (2013)
|
"Oblivion's leading man is as dependable as ever. A shame that the film, while pretty, is somewhat ponderous, and ultimately fails to cohere into a narratively satisfying whole."
|
Catherine Bray
|
|
9%
|
The Host (2013)
|
"The central premise of The Host is fundamentally unfilmable and, hence, probably shouldn't have been filmed."
|
Rebecca Davies
|
|
66%
|
Spring Breakers (2013)
|
"In appearing to embrace the mainstream, erstwhile enfant terrible Harmony Korine orchestrates one of his most provocative, formally experimental films to date."
|
Charlie Lyne
|
|
79%
|
A Late Quartet (2012)
|
"A pathos-laden chamber piece poignantly played by an ensemble of actors at the peak of their powers."
|
Rebecca Davies
|
|
74%
|
Simon Killer (2013)
|
"Alienation, anomie, angst, affectlessness, electropop - Antonio Campos' coolly undemonstrative second feature brings into gradual focus an American (sociopath) in Paris."
|
Anton Bitel
|
|
35%
|
Dark Skies (2013)
|
"Somehow this mishmash of borrowed ideas all comes together to create an unexpectedly solid genre movie."
|
Rebecca Davies
|
|
87%
|
In the House (2013)
|
"Fact and fiction collide messily in a film that will be a treat for Ozon fans, which boasts an impressive breakthrough performance from one-to-watch Ernst Umhauer."
|
Charlie Graham-Dixon
|
|
90%
|
Good Vibrations ()
|
"An engaging portrait of a lovable, shambolic music fan turned reluctant impresario."
|
Nigel Floyd
|
|
29%
|
What? (Diary of Forbidden Dreams) (1973)
|
"A terrible self-indulgent piece of misogynist trash from an otherwise great director."
|
Jamie McLeish
|
|
95%
|
The Return (Vozvrashcheniye) (2003)
|
"Mysterious, compelling, visually inventive, The Return is a quiet but intense metaphysical-drama of great emotional impact and insight."
|
Jon Fortgang
|
|
3%
|
Rollerball (2002)
|
"A dire re-working of the provocative 1975 sci-fi satire."
|
|
|
28%
|
G.I. Joe: Retaliation (2013)
|
"in case you are unable to keep up with the ADHD approach to mayhem, all the money shots are replayed over the closing credits. "
|
Anton Bitel
|
|
54%
|
Basic Instinct (1992)
|
"Flashy, raunchy and schlocky, Basic Instinct is classic nineties noir for which Verhoeven's overblown direction and Stone's exposure secured a place in movie history."
|
|
|
72%
|
Dirty Dancing (1987)
|
"While it's easy to be cynical about the whole affair, the film's sheer audacity is admirable, and Dirty Dancing knows what it aspires to."
|
|
|
93%
|
Matewan (1987)
|
"The film is beautifully shot (by veteran cinematographer Haskell Wexler) and works not just as a tense drama, but also as a fascinating recreation of the shifting politics of the the 1920s, where workers' rights blurred with socialism."
|
|
|
52%
|
Jack the Giant Slayer (2013)
|
"Set somewhere between heaven and earth, Singer's slick but safe adventure occupies the middle ground of family matinee entertainment."
|
Anton Bitel
|
|
69%
|
The Croods (2013)
|
"Postmodernism goes premodern in this fun animated family adventure that fills its late Ice Age setting with anachronistic details, while tracing a father-daughter relationship that could come from any time."
|
Anton Bitel
|
|
79%
|
Reality (2013)
|
"As gaudy and glitzy as the superficialities it lampoons, Mateo Garrone's Reality is a Fellini-esque fantasia without the counterweight of Fellini's thematic complexity."
|
Anton Bitel
|
|
20%
|
Identity Thief (2013)
|
"The hit rate isn't as high as you'd hope, gag-wise, but Melissa McCarthy and Jason Bateman remain highly likeable screen presences, even when behaving in unlikeable and unlikely ways."
|
Catherine Bray
|
|
38%
|
The Incredible Burt Wonderstone (2013)
|
"Big silly fun in the Anchorman vein, The Incredible Burt Wonderstone is packed with great gags, recognisable characters and performances from comedians at the top of their game."
|
Catherine Bray
|
|
44%
|
The Paperboy (2012)
|
"You certainly couldn't accuse anyone involved in The Paperboy of playing it safe, and for this reason, Lee Daniels' film is one to file under misjudged must-sees."
|
Catherine Bray
|
|
51%
|
Welcome to the Punch (2013)
|
"This flawed, yet watchable action homage doesn't quite live up to its gun-toting influences, but a marvellous roster of Grade-A Brits tips the scales in Welcome To The Punch's favour."
|
Michael Leader
|
47%
45%
95%
99%
65%
61%
