|
28%
|
The Vow (2012)
|
"The two stars look dewy and glossy and unexceptional, bound together less by chemistry than by the ministrations of a hard-working costume designer."
|
Lisa Schwarzbaum
|
|
56%
|
Edge of Darkness (2010)
|
|
Lisa Schwarzbaum
|
|
85%
|
In Darkness (2012)
|
"A daringly murky-looking movie that demands viewers enter the void..."
|
Lisa Schwarzbaum
|
|
51%
|
Perfect Sense (2012)
|
"An intriguing apocalyptic romance with a multi-purpose title."
|
Lisa Schwarzbaum
|
|
43%
|
Journey 2: The Mysterious Island (2012)
|
"The movie flies by pleasantly, and is then instantly forgettable. Perhaps Jules Verne can explain the science of that."
|
Lisa Schwarzbaum
|
|
53%
|
Safe House (2012)
|
"The movie, as if on an action time clock, punches in the standard set pieces: bloody fights, clattering shoot-outs, an escape through a packed soccer stadium. Some of this stuff is well-done, and some of it has been done a lot better."
|
Owen Gleiberman
|
|
85%
|
Chronicle (2012)
|
"Based on Chronicle, it's clear that Trank has the right stuff to move up to big-budget fantasy movies. If he wants to, that is. In a lot of ways, he has already beaten the studios at their game."
|
Owen Gleiberman
|
|
64%
|
The Woman in Black (2012)
|
"An old-fashioned, tastefully constrained supernatural thriller..."
|
Lisa Schwarzbaum
|
|
83%
|
Reise der Hoffnung (Journey of Hope) (1991)
|
|
Owen Gleiberman
|
|
100%
|
Smashed ()
|
"What's new about this affecting, unsensationalized portrait of addiction, recovery, codependence, setbacks, one-day-at-a-time progress, and their effects on relationships, is the low-keyed energy of the storytelling."
|
Lisa Schwarzbaum
|
|
2%
|
One for the Money (2012)
|
"Imagine an Elmore Leonard movie scripted by a bad Nora Ephron imitator, and you'll have an idea of how dead-in-the-Jersey-water it is."
|
Owen Gleiberman
|
|
82%
|
Crazy Horse (2012)
|
|
Lisa Schwarzbaum
|
|
76%
|
The Innkeepers (2012)
|
"The filmmaker takes his unlucky couple of innkeepers seriously: He gives them living, breathing personalities, independent of their relationship with the house ghoul."
|
Lisa Schwarzbaum
|
|
13%
|
W.E. (2012)
|
"The movie is a folly, a desultory vanity project for its director and co-writer."
|
Lisa Schwarzbaum
|
|
88%
|
Declaration of War (2012)
|
"An unexpectedly upbeat autobiographical drama made with French New Wave pizzazz about a young boy with brain cancer and the parents who pull together to fight for him."
|
Lisa Schwarzbaum
|
|
77%
|
The Grey (2012)
|
"Winter-release slot + travel budget + Liam Neeson = slightly preposterous, routinely violent, apparently lucrative action movie..."
|
Lisa Schwarzbaum
|
|
32%
|
Man on a Ledge (2012)
|
"For a film with such a straightforward title, Man on a Ledge turns out to be remarkably convoluted."
|
Keith Staskiewicz
|
|
65%
|
Cherry Tree Lane ()
|
|
Owen Gleiberman
|
|
——
|
Jungle Book (2002)
|
|
Lisa Schwarzbaum
|
|
80%
|
My Best Fiend (Mein liebster Feind - Klaus Kinski) (1999)
|
|
Owen Gleiberman
|
|
——
|
The Front Line (2007)
|
|
Lisa Schwarzbaum
|
|
21%
|
Loosies (2012)
|
|
Owen Gleiberman
|
|
39%
|
Ultrasuede: In Search of Halston (2012)
|
"This film has a grander trajectory than just about any other fashion doc."
|
Owen Gleiberman
|
|
89%
|
Miss Bala (2012)
|
"Mexico's 2012 submission for Best Foreign Language Film - rightfully so."
|
Lisa Schwarzbaum
|
|
55%
|
The Front Line (2012)
|
"This strong, assured Band of Brothers-style drama from director Jang Hun makes universal points about bonding, misery, loyalty, and the senselessness of war through a portfolio of soldiers."
|
Lisa Schwarzbaum
|
|
80%
|
Haywire (2012)
|
"Carano projects an intriguing aura in her dramatic-acting debut - part smoky, dark-haired sexuality, part bruiser, with an uninflected alto voice that cuts through crap."
|
Lisa Schwarzbaum
|
|
36%
|
Red Tails (2012)
|
"As long as it stays in the air, Red Tails ... is a compelling sky-war pageant of a movie."
|
Owen Gleiberman
|
|
91%
|
Beauty and the Beast (In 3D) (2012)
|
|
Lisa Schwarzbaum
|
|
74%
|
Norwegian Wood (2012)
|
"This lush, eventually torpid adaptation of Haruki Murakami's more nuanced 1987 cult-favorite novel considers youthful love, loss, and eros..."
|
Lisa Schwarzbaum
|
|
50%
|
Sleeping Beauty (2011)
|
"[An] arty exploitation pic passed off as a feminist parable..."
|
Lisa Schwarzbaum
|
|
48%
|
Contraband (2012)
|
"Contraband, while often grungy and far-fetched, does keep you watching. And in January, that's recommendation enough."
|
Owen Gleiberman
|
|
34%
|
Joyful Noise (2012)
|
"The movie's musical numbers are catchy and rollicking and, in their bright sunshiny way, rather soulful."
|
Owen Gleiberman
|
|
5%
|
The Devil Inside (2012)
|
"The Devil Inside's biggest shock arrives when it abruptly ends - just as it hits its stride."
|
Clark Collis
|
|
54%
|
In the Land of Blood and Honey (2011)
|
"In the Land of Blood and Honey captures the sickening way the war in Bosnia became a gray zone of genocide. Yet that, unfortunately, is not enough to make it a good movie."
|
Owen Gleiberman
|
|
53%
|
Albert Nobbs (2012)
|
"I don't know why [Close is] keen to play such a recessive wisp of a man, but I admire how committed she is to her bowler hat."
|
Lisa Schwarzbaum
|
|
99%
|
A Separation (2011)
|
"The film wraps us, with stunning directness, in the complex folds of its characters' passions."
|
Owen Gleiberman
|
|
96%
|
Pariah (2011)
|
"In her fearless, world-here-I-am! debut Pariah, writer-director Dee Rees demonstrates, with simplicity and verve, that there's no substitute for authenticity."
|
Lisa Schwarzbaum
|
|
95%
|
Pina (2011)
|
"So this is what 3-D is capable of when used for art rather than the commerce of hiking ticket prices and repurposing cartoons!"
|
Lisa Schwarzbaum
|
|
95%
|
Elite Squad: The Enemy Within (2011)
|
"The pace is quick, the violence is rough, and the visual style is documentary as Padilha hammers home his point: Someone is forever in the pocket of someone else as The System constantly adapts to protect itself."
|
Lisa Schwarzbaum
|
|
12%
|
The Darkest Hour (2011)
|
"It's clear from early on that these characters are as indistinct and lazily rendered as the floating blobs chasing them."
|
Keith Staskiewicz
|
|
54%
|
The Iron Lady (2012)
|
"Streep is her own irresistible show as she assumes, with the precision that is her trademark, the character of the U.K.'s staunchly conservative prime minister in the 1980s."
|
Lisa Schwarzbaum
|
|
45%
|
Extremely Loud & Incredibly Close (2012)
|
"Here's a tale that compacts the grief of an entire world, country, city, and thousands of loved ones left behind into the pain of one vulnerable, fictional boy."
|
Lisa Schwarzbaum
|
|
76%
|
War Horse (2011)
|
"The project is tailor-made for Saving Private Ryan Spielberg, the war-story specialist, as well as for E.T. Spielberg, the chronicler of boyhood desires and yearnings for family."
|
Lisa Schwarzbaum
|
|
93%
|
Mission: Impossible Ghost Protocol (2011)
|
"Powered by Cruise's moxie, Mission: Impossible -- Ghost Protocol proves that in a Hollywood action-ride culture drenched in fake adrenaline, it's cathartic to encounter the real thing."
|
Owen Gleiberman
|
|
13%
|
Alvin and the Chipmunks: Chipwrecked (2011)
|
"Good news: The shrill CG rodents, who last infested theaters in 2009's Squeakquel, are stranded on a jungle island with little hope of survival. Bad news: They've brought us along."
|
Adam Markovitz
|
|
60%
|
Sherlock Holmes: A Game of Shadows (2011)
|
"Here, as before, part of the movie's perversely cheeky design is that it throws away its own cleverness."
|
Owen Gleiberman
|
|
72%
|
Carnage (2011)
|
"No one makes sense in Reza's world of glittering mockery."
|
Lisa Schwarzbaum
|
|
63%
|
We Bought a Zoo (2011)
|
"From the high-concept title to the family-friendly story line, it's basically a Tim Allen movie, only made with taste and feeling."
|
Owen Gleiberman
|
|
87%
|
The Girl with the Dragon Tattoo (2011)
|
"[Fincher] has made The Girl With the Dragon Tattoo into an electrifying movie by turning the audience into addicts of the forbidden, looking for the sick and twisted things we can't see."
|
Owen Gleiberman
|
|
70%
|
Design for Living (1933)
|
|
Adam Markovitz
|
