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3/4 |
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Abandon (2002) |
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"In the end, the film is less the cheap thriller you’d expect than it is a fairly revealing study of its two main characters — damaged-goods people whose orbits will inevitably and dangerously collide." | |
Nick Rogers | |
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3/4 |
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Adam Sandler's Eight Crazy Nights (2002) |
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"Only in the world of Adam Sandler could an animated message of inter-faith holiday appreciation be mixed in with a sextet of defecating deer, a woman with three breasts and songs about hatred and drinking." | |
Nick Rogers | |
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1/4 |
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The Adventures of Pluto Nash (2002) |
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"The movie is set in 2087, or approximately 100 years after scribe Neil Cuthbert last bothered to touch up his script." | |
Nick Rogers | |
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1.5/4 |
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Agent Cody Banks (2003) |
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"It’s as though for every good idea the movie has, someone from the writing committee jumped in and said, 'Yeah, but let’s put a fart joke right after that.'" | |
Nick Rogers | |
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1/4 |
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The Alamo (2004) |
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"A torturous cycle of standing, pouting, bickering and looking at the Mexican army, as irritatingly flat as the pages of the history books that taught us about the Alamo.
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Nick Rogers | |
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1.5/4 |
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Alex and Emma (2003) |
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"Say, since Alex and Emma is supposed to be all about people of letters and the creative process, maybe somebody interested knows. Is lame-o all one word or hyphenated?" | |
Paul Povse | |
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2.5/4 |
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Alexander (2004) |
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"Bad cinematic and casting choices abound, but what keeps it compelling and watchable is Oliver Stone's keen eye for how youthful, talented men live fast and die young." | |
Nick Rogers | |
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1.5/4 |
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All The King's Men (2006) |
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"The actors don't spar, but jab and feint into the stale air that comes with such stuffy, fossilized movies as this. Put together again more for new Oscars than new audiences, it's a handsomely shot disaster." | |
Nick Rogers | |
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1.5/4 |
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Along Came Polly (2004) |
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"There is something cruelly funny about getting dumped on your honeymoon, but that was done far better in Elaine May’s The Heartbreak Kid." | |
Paul Povse | |
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2.5/4 |
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Alpha Dog (2007) |
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"Week-old weed smoke practically wafts from the screen in a film that's most engaging once it's handed over to Justin Timberlake's excellent performance. But where it thinks it's delivering gut-punches, it's too often feigning with caricatures." | |
Nick Rogers | |
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2.5/4 |
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The Amityville Horror (2005) |
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"Shorter and sillier than the original, but easily more entertaining, this version feels like less like a documentary of supernatural events than a piece of nasty pulp horror." | |
Nick Rogers | |
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4/4 |
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Anchorman: The Legend of Ron Burgundy (2004) |
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"Instantly quotable and destined for classic comedic status." | |
Nick Rogers | |
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2.5/4 |
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Andrew Lloyd Webber's The Phantom of the Opera (2004) |
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"What could have been a campy calamity boasts some surprising elegance. But there is zero romantic heat and a vocally and emotionally flat performance from Gerard Butler." | |
Nick Rogers | |
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3/4 |
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Anger Management (2003) |
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"With free reign to be insane, Jack’s at his snaky, screwy best, and Sandler again wisely plays the straight man to his insane supporting characters." | |
Nick Rogers | |
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3.5/4 |
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Antwone Fisher (2002) |
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"For his directorial debut, Denzel Washington (has made) a haunting and resonant film covered with a potent Southern Gothic chill." | |
Nick Rogers | |
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1.5/4 |
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Anything Else (2003) |
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"In a single sentence, Allen's character invokes Camus and Henny Youngman. If an unfunny joke is told in the forest and nobody hears it, it’s still an unfunny joke." | |
Paul Povse | |
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2/4 |
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Are We There Yet? (2005) |
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"You’ll likely be checking your watch in hopes of an affirmative answer to the movie’s title. In this case for Cube, N.W.A. stands for Nominally Worthy Adventure." | |
Nick Rogers | |
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3/4 |
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Around the World in 80 Days (2004) |
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"It’s fairly fast, zips some good zingers at the audience through Steve Coogan, and is just the sort of instantly forgettable fun parents can have with their kids.
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Nick Rogers | |
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4/4 |
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Auto Focus (2002) |
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"Schrader weaves American sexual mores, advances in video technology, dangerous impulses and awareness of self into one compelling thread. The movie has a precise vision — funny, sad and profound all at once." | |
Nick Rogers | |
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