|
81%
|
The Place Beyond The Pines (2013)
|
"I can only speak from experience, and what I saw was a powerful, arresting, and ultimately moving film that aimed for the sky and only rarely fell short."
|
Ryan Hamelin
|
|
88%
|
Django Unchained (2012)
|
"It'll be fun to watch at home, but there's something about the energy of the room, particularly with people seeing the film for the first time, that's hard to replicate."
|
Ryan Hamelin
|
|
92%
|
Silver Linings Playbook (2012)
|
"It's an incredibly long and drawn out character study... one that isn't nearly as rewarding as most people would have you believe."
|
Ryan Hamelin
|
|
65%
|
The Campaign (2012)
|
|
|
|
72%
|
Fracture (2007)
|
|
|
|
29%
|
The Tempest (2010)
|
|
|
|
29%
|
The Tempest (2010)
|
|
|
|
30%
|
Broken City (2013)
|
|
|
|
92%
|
Silver Linings Playbook (2012)
|
|
|
|
44%
|
Brake (2012)
|
|
|
|
75%
|
Berberian Sound Studio (2013)
|
|
|
|
8%
|
The Babymakers (2012)
|
|
|
|
0%
|
Dark Tide (2012)
|
|
|
|
20%
|
Loosies (2012)
|
|
|
|
55%
|
Home Room (2003)
|
|
|
|
92%
|
The Cabin in the Woods (2012)
|
|
|
|
52%
|
This is 40 (2012)
|
|
|
|
92%
|
Skyfall (2012)
|
"For fans of the genre, Skyfall is the rare gem that manages to be both the dramatic and emotional character study and the epic visceral thrills of a studio tent-pole."
|
Ryan Hamelin
|
|
82%
|
Seven Psychopaths (2012)
|
"The structure is an evolving narrative that continually reframes itself in different contexts, adapting to the changing landscape of a dog kidnapping gone very, very wrong."
|
Ryan Hamelin
|
|
96%
|
Argo (2012)
|
"Argo is a shining example of cinema at its most powerful, a well-told story delivered in the best possible format. "
|
Ryan Hamelin
|
|
21%
|
Taken 2 (2012)
|
"Unfortunately, you'll be straining to find something compelling in this dreck, as the film feels more like a half-baked expansion pack than a standalone project."
|
Ryan Hamelin
|
|
78%
|
Dredd (2012)
|
"In fact, it's a tightly paced, fun, violent romp through a grim future earth that lives up to the comic book property that spawned both its title and its titular hero. "
|
Ryan Hamelin
|
|
93%
|
Looper (2012)
|
"It's a breath of fresh air for the genre, and one of the strongest examples of single-vision filmmaking in quite some time."
|
Ryan Hamelin
|
|
87%
|
The Dark Knight Rises (2012)
|
"The unraveling of that world is a slow burn, but unlike with The Dark Knight, the pressure doesn't coalesce immediately, or, for some viewers, even at all."
|
Ryan Hamelin
|
|
48%
|
Snow White and the Huntsman (2012)
|
"No, the bad apples fall in the shape of a script-by-committee, and a badly overreaching Charlize Theron who could have been fantastic if properly directed."
|
Ryan Hamelin
|
|
70%
|
Men in Black III (2012)
|
"Now that they've shaken the rust off, I'd be curious to see what a fourth film could bring, as they really haven't tried to close the door at all with this one."
|
Ryan Hamelin
|
|
34%
|
Battleship (2012)
|
"If you expected this movie to be good, you sort of deserve to be disappointed."
|
Ryan Hamelin
|
|
26%
|
Wrath of the Titans (2012)
|
"In just about every way it makes good on upping the ante from the last film, there's another element that suffers an equal amount."
|
Ryan Hamelin
|
|
85%
|
The Hunger Games (2012)
|
"There's always going to be parts of any adaptation that rub readers the wrong way, but on the whole the filmmakers never compromise Suzanne Collins's original vision."
|
Ryan Hamelin
|
|
57%
|
Safe (2012)
|
"It's like playing a dumbed down version of chess, albeit blindfolded and told repeatedly how stupid you are for not being able to follow along."
|
Ryan Hamelin
|
|
57%
|
Detachment (2012)
|
"You won't leave the theater feeling the same way you did walking in, nor will you look at the world in precisely the same way."
|
Ryan Hamelin
|
|
32%
|
Man on a Ledge (2012)
|
"It's a throwback to the adrenaline pumping days of yore, when you'd begin an unassuming plot, only to find yourself thrust to the edge of your seat and held there."
|
Ryan Hamelin
|
|
77%
|
War Horse (2011)
|
"This is a long movie. At two and a half hours, it feels exactly its length, and if you're not committed to putting that much in, you probably shouldn't see it in a theater."
|
Ryan Hamelin
|
|
93%
|
Mission: Impossible Ghost Protocol (2011)
|
"The story is actually so linear that it feels convenient at times, and the focus prevents this installment from having the more relaxed meandering scope of previous outings."
|
Ryan Hamelin
|
|
86%
|
The Girl with the Dragon Tattoo (2011)
|
"Every year there's one film that manages to meet and then truly exceed an already high bar of expectation for me, and this year, this is that film."
|
Ryan Hamelin
|
|
75%
|
The Adventures of Tintin (2011)
|
"There was an awful lot of fun to be had throughout, and I'd recommend it even on the grounds of an escapist afternoon adventure."
|
Ryan Hamelin
|
|
60%
|
Sherlock Holmes: A Game of Shadows (2011)
|
"The finale is easily the most capable part of the film, and it does a great job of redeeming much of the earlier portions of the movie."
|
Ryan Hamelin
|
|
80%
|
Shame (2011)
|
"Shame is a freight train slamming into the side of your head. It's a suckerpunch, a kick in the nuts, and a lightning-rod all rolled into one."
|
Ryan Hamelin
|
|
67%
|
We Bought a Zoo (2011)
|
"Crowe brings everything you've ever loved about his work together in one movie, while ditching a lot of the thinner yet flashier visual material that defined earlier projects."
|
Ryan Hamelin
|
|
94%
|
Hugo (2011)
|
"It's the kind of movie that you don't see anymore, a story that isn't particularly marketable, but with a budget to allow the filmmaker to stretch his legs creatively."
|
Ryan Hamelin
|
|
83%
|
Tinker Tailor Soldier Spy (2011)
|
"Will it be a lot for some to stomach? Probably, but hey, if it doesn't make you work for it, would you ever really be in a position to love it?"
|
Ryan Hamelin
|
|
36%
|
In Time (2011)
|
"The script plays like a game of "spot the studio note." Every few minutes, there's a line of dialogue so forced and so expositional, that all you can do is cringe."
|
Ryan Hamelin
|
|
47%
|
Anonymous (2011)
|
"This is very well constructed and persuasive film, powerful enough to inspire the casual viewer to head home and research the story for themselves."
|
Ryan Hamelin
|
|
35%
|
Immortals (2011)
|
"The shots are so precise, the storytelling so specific, that it's a marvel to behold the finished product, a large-scale swords and sandals epic with a singular focus."
|
Ryan Hamelin
|
|
60%
|
Real Steel (2011)
|
"Surprisingly, it's a movie that understands the power of good storytelling, delivered effectively, and the way we relate to characters on an emotional level."
|
Ryan Hamelin
|
|
36%
|
The Thing (2011)
|
"There aren't a lot of surprises left in store, and unfortunately for the studio, you can't generate good drama or tension if we know our protagonists can't ultimately win."
|
Ryan Hamelin
|
|
93%
|
50/50 (2011)
|
"Jonathan Levine gets to the heart of the characters with speed and grace, and before long you feel that familiar tug on the heartstrings as events begin their downward spiral."
|
Ryan Hamelin
|
|
95%
|
Moneyball (2011)
|
"The film makes some great choices about what moments to focus on, and I loved the development we had with the daughter, and the way that informs our understanding of Beane."
|
Ryan Hamelin
|
|
95%
|
The Guard (2011)
|
"If you liked In Bruges, you'll enjoy The Guard for a lot of the same reasons, but it won't stick with you nearly as well. "
|
Ryan Hamelin
|
|
93%
|
Drive (2011)
|
"This is an old school movie, and the retro vibe gives it a timeless quality that should sustain its cult appeal for many years to come. One of the year's best films."
|
Ryan Hamelin
|
78%
——
——
85%
45%
40%
