|
67%
|
Lunacy (2006)
|
"Lunacy lacks the teeth to be truly audacious. Yet its leisurely pacing and silly send-ups of psychosexual perversions make it an amusing enough gothic comedy."
|
Jay Antani
|
|
46%
|
Edmond (2005)
|
"Mamet's script may not be entirely convincing as either satire or social commentary, but in Macy's hands, poor, pathetic Edmond's story finds its shocking, darkly funny resonance."
|
Jay Antani
|
|
86%
|
Quinceañera (Echo Park, L.A.) (2006)
|
"In the end, what keeps Quinceañera so engaging are the wonderfully sweet, unselfconscious performances from Emily Rios and Jesse Garcia"
|
Jay Antani
|
|
54%
|
Pirates of the Caribbean: Dead Man's Chest (2006)
|
"takes all that was so charming about the first Pirates...and amps it up to the wattage of a Looney Tunes cartoon"
|
Jay Antani
|
|
85%
|
La Moustache (2005)
|
"an awfully rickety, hollow exercise in style over substance"
|
Jay Antani
|
|
82%
|
The China Syndrome (1979)
|
"Crackling drama about TV reporter (Jane Fonda) investigating a coverup at a faulty nuclear reactor, and pressing upon conflicted technician played by the first-rate Jack Lemmon to go public with the story."
|
Jay Antani
|
|
36%
|
A View to a Kill (1985)
|
"The aging Roger Moore rehashes his somewhat foppish Bond in this sad '80s installment with Grace Jones as a vampish villainess. Awful, and an embarrassment to the Bond mystique."
|
Jay Antani
|
|
12%
|
Ma Mere,(Meine Mutter),(My Mother) (2005)
|
"...a dispirited affair and often feels like a parody - a decidedly self-serious one - of one of Bertolucci or Pasolini's boundary-pushing offerings from the '70s"
|
Jay Antani
|
|
100%
|
Harper (The Moving Target) (1966)
|
|
Jay Antani
|
|
66%
|
O Homem Que Copiava (The Man Who Copied) (2005)
|
"utterly fresh and appealing from start to finish"
|
Jay Antani
|
|
82%
|
Kontroll (2005)
|
"a gleeful demonstration of Antal's flair for the medium"
|
Jay Antani
|
|
43%
|
Palindromes (2004)
|
"Take away the subversive hilarity of his movies, and [Solondz] could well be the cinematic equivalent of the Unabomber."
|
Jay Antani
|
|
81%
|
Oldboy (2005)
|
"Oldboy is a true-to-form sendup of grittier, more lurid manga fare. This is good news for die-hard fans of the form and teeth-gritting torture for those who are not."
|
Jay Antani
|
|
100%
|
The Lavender Hill Mob (1951)
|
"Fun, perfectly realized Ealing Studios outing"
|
Jay Antani
|
|
91%
|
The Killing Fields (1984)
|
"One of the most potent politically-charged dramas ever made, managing to honor both the epic and the intimate aspects of its drama. One of the top films of the '80s."
|
Jay Antani
|
|
59%
|
Steamboy (2005)
|
" In spite of...obvious and unfortunate flaws, if you're going to see Steamboy do so on the big screen so as to be reminded of the marvels of hand-drawn animation"
|
Jay Antani
|
|
63%
|
Mail Order Wife (2005)
|
"a simple-minded circle jerk about exploitation, peopled by characters without the least bit of originality, vitality or appeal"
|
Jay Antani
|
|
89%
|
Machuca (2004)
|
"Wood's story-world details are rendered beautifully, but without a framework to hang them on"
|
Jay Antani
|
|
95%
|
The Crowd ()
|
"my favorite silent film: poetically told with dazzling direction"
|
Jay Antani
|
|
42%
|
A Love Song for Bobby Long (2004)
|
"Gabel has potentially challenging material on her hands but her treatment of it feels too hygienic, mistaking tastefulness for subtlety "
|
Jay Antani
|
|
87%
|
Duel in the Sun (1946)
|
"Lurid, stupid fun"
|
Jay Antani
|
|
77%
|
Mighty Aphrodite (1995)
|
|
Jay Antani
|
|
88%
|
Bugsy (1991)
|
"Gloss, but well put-together gloss"
|
Jay Antani
|
|
100%
|
Day for Night (1973)
|
|
Jay Antani
|
|
95%
|
Mad Max (1979)
|
|
Jay Antani
|
|
100%
|
The Invisible Man (1933)
|
"Terrific entry in the James Whale horror canon"
|
Jay Antani
|
|
67%
|
The Hobbit (1978)
|
"Drab, boring but with an oddly moody tone"
|
Jay Antani
|
|
88%
|
The Woodsman (2004)
|
"Bacon's Walter is a searing creation...breaking through the The Woodsman's well-behaved exterior to reveal something of the...untrodden depths churning at its heart."
|
Jay Antani
|
|
67%
|
Ladyhawke (1985)
|
|
Jay Antani
|
|
95%
|
The Return (Vozvrashcheniye) (2003)
|
"an absorbing psychological drama and coming-of-age story in the guise of a road movie"
|
Jay Antani
|
|
67%
|
Gulliver's Travels (1939)
|
"Cheesy but well-drawn"
|
Jay Antani
|
|
84%
|
Slacker (1991)
|
"A landmark by an American master"
|
Jay Antani
|
|
78%
|
George Lucas in Love (2000)
|
"Overhyped bit of semi-witty movie geek fluff"
|
Jay Antani
|
|
86%
|
Janghwa, Hongryeon (A Tale of Two Sisters) (2003)
|
"a delirious mélange of styles that absorbs us for two solid hours"
|
Jay Antani
|
|
88%
|
House of Flying Daggers (2004)
|
"a tedious...excuse for this director to indulge his fetish for digitalized blood and daggers and...immaculately composed nature shots"
|
Jay Antani
|
|
78%
|
Overnight (2004)
|
"Overnight always holds our interest, not so much as a documentary as an episode of a junky reality TV show. "
|
Jay Antani
|
|
38%
|
Happy Hour (2004)
|
"Happy Hour is strictly college-level compost, content with its mediocrity, if not wholly unaware of it."
|
Jay Antani
|
|
14%
|
It's All About Love (2004)
|
"while watching it you might be hit with the urge to grab the Danish writer-director by the collar and shout 'No, it's all about story!'"
|
Jay Antani
|
|
92%
|
Tarnation (2004)
|
"Caouette's movie succeeds because of its cinematic showmanship, injecting the personal documentary form with an urgently expressive avant-gardism."
|
Jay Antani
|
|
94%
|
Lost in La Mancha (2003)
|
"entertaining without always being compelling"
|
Jay Antani
|
|
85%
|
Bend It Like Beckham (2003)
|
"its irresistible charms and performances are what linger and make Beckham a popcorn, er, samosa flick worth savoring."
|
Jay Antani
|
|
85%
|
Spider (2002)
|
"Cronenberg pieces together a compelling portrait of madness, but one which lacks the poignancy to be a rich, moving character study."
|
Jay Antani
|
|
52%
|
Down and Out With the Dolls (2003)
|
"an assuredly made, unexpectedly poignant and hilarious feel-good flick, pitched somewhere between the goofy campiness of John Waters and the good-heartedness of Cameron Crowe"
|
Jay Antani
|
|
14%
|
The Young Unknowns (2000)
|
"[an] eloquent, damning case against American culture and family"
|
Jay Antani
|
|
71%
|
Confidence (2003)
|
"While it sometimes fails to live up to its title, Confidence ultimately, wins us over-in short, it dazzlingly does what all good cons are supposed to do. "
|
Jay Antani
|
|
96%
|
Raising Victor Vargas (2003)
|
"ultimately, it lacks the backbone, the thematic heft, to be anything beyond a sweet redemption story"
|
Jay Antani
|
|
38%
|
Hotel (2003)
|
"it's through its anarchic, try-anything chutzpah that this bizarrely erotic satire succeeds and entertains"
|
Jay Antani
|
|
94%
|
American Splendor (2003)
|
"It gets the mood right, but never slows enough to explore its rich, existential landscape--the cynical, ultimately humanist, musings at the heart of Pekar's comic manifestos."
|
Jay Antani
|
|
60%
|
Madame Satã (2002)
|
"Ainouz' script and style seem unwilling to explore below the surface. He embraces the story's physical details...without revealing much of his subject's soul."
|
Jay Antani
|
|
46%
|
The Other Side of the Bed (El Otro Lado de la Cama) (2003)
|
"it's impossible for me to completely dismiss a movie that features not one but two Spanish women....The rest of [this] sex romp/romantic comedy...can't be so summarily praised"
|
Jay Antani
|
78%
——
——
85%
45%
40%
