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1/5 |
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21 Grams (2003) |
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"21 Grams thrashes wildly...exhorting us to feel something. Apart from the fleeting satisfaction of its structural parlor game, I felt little...save exhausted boredom." | |
Jay Antani | |
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3.5/5 |
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American Splendor (2003) |
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"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 | |
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1/5 |
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The Barbarian Invasions (2003) |
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"...jerkily paced, dramatically obvious, and seems penned by a self-serious 16-year-old" | |
Jay Antani | |
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4.5/5 |
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Before Sunset (2004) |
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"[a] charming, intelligent romance" | |
Jay Antani | |
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3/5 |
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Bend It Like Beckham (2003) |
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"its irresistible charms and performances are what linger and make Beckham a popcorn, er, samosa flick worth savoring." | |
Jay Antani | |
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4/5 |
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The Blind Swordsman: Zatoichi/Sonatine (2004) |
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"Zatoichi triumphs where few movies dare to tread" | |
Jay Antani | |
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5/5 |
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Blithe Spirit (1945) |
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"Blithe is ingeniously goofy...worth seeing just to see Rutherford riding her bicycle like a charging fury and capering about giddily at the mere mention of ghosts." | |
Jay Antani | |
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4.5/5 |
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Born Into Brothels (2004) |
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"documentary activism at its most galvanized, charged with action and, while often emotional, never bogged down with dewy-eyed sentimentalism" | |
Jay Antani | |
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4.5/5 |
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Brief Encounter (1946) |
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" Its themes of...regret and longing can still be heard—Before Sunrise and Lost in Translation both bear its note of pining and loneliness in a hurly-burly world" | |
Jay Antani | |
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Bright Young Things (2004) |
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"Bright Young Things lacks free-spiritedness and bite." | |
Jay Antani | |
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2/5 |
|
Bubba Ho-Tep (2003) |
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"Bubba Ho-Tep tries ineffectually to be both a lyrical character study and a darkly satirical horror flick." | |
Jay Antani | |
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4/5 |
|
Bugsy (1991) |
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"Gloss, but well put-together gloss" | |
Jay Antani | |
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4.5/5 |
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Bukowski: Born Into This (2004) |
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"a loving tribute to a writer, his craft and, above all, the idea of living and dying by one’s own creed" | |
Jay Antani | |
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3/5 |
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Cabin Fever (2003) |
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" Fever packs its share of jolts and none-too-shabby black humor, both worthy of a place alongside Romero" | |
Jay Antani | |
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4/5 |
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The China Syndrome (1979) |
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"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 | |
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1.5/5 |
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Code 46 (2004) |
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"a noir snore with no moral desperation, no clear-cut point-of-view and a love story whose eroticism feels about as urgent as yardwork" | |
Jay Antani | |
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3/5 |
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Coffee and Cigarettes (2004) |
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"Coffee and Cigarettes feels thin and slight at times.... But at its best, the movie achieves the charm and delight that underscores Jarmusch’s best work" | |
Jay Antani | |
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3.5/5 |
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Confidence (2003) |
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"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 | |
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2/5 |
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The Cooler (2003) |
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" The Cooler is too earnest a morality tale, saddled with derivative characters, to heat up much sympathy or interest.
" | |
Jay Antani | |
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2/5 |
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Crimson Gold (2004) |
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"an artful failure, a moped-fueled odyssey into dramatic weariness and monotony" | |
Jay Antani | |
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5/5 |
|
The Crowd (1928) |
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"my favorite silent film: poetically told with dazzling direction" | |
Jay Antani | |
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3/5 |
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Day for Night (1973) |
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No article available. | |
Jay Antani | |
|
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4/5 |
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DIG! (2004) |
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"Timoner’s...narrative entertains but also offers an unflinching look at the rage and heartbreak that result in trying to stay true...in [a] soulless, image-driven business.
" | |
Jay Antani | |
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1.5/5 |
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Dogville (2003) |
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"never manages to be more than a belabored shaggy dog story" | |
Jay Antani | |
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4/5 |
|
Down and Out with the Dolls (2003) |
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"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 | |
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3/5 |
|
Duel in the Sun (1946) |
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"Lurid, stupid fun" | |
Jay Antani | |
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3/5 |
|
Dummy (2003) |
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"Pritikin's movie succeeds...thanks to its spirited, oddball humor and winning performances" | |
Jay Antani | |
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3.5/5 |
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Edmond (2006) |
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"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 | |
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3/5 |
|
Elephant (2003) |
|
" Elephant is one of this year's boldest movies....But, in refusing to assert a point of view about what troubles American youth, Van Sant...flees the scene of the crime" | |
Jay Antani | |
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4/5 |
|
Eternal Sunshine of the Spotless Mind (2004) |
|
"Eternal Sunshine is undeniably ambitious filmmaking and a feather in this year's cap of indie movies" | |
Jay Antani | |
|
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4/5 |
|
Father and Son (2004) |
|
"for a hit of pure cinema, you could do no better...than to spend a few moments reveling in its high" | |
Jay Antani | |
|
|
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5/5 |
|
The Fog of War (2003) |
|
"a deeply felt testament of a man struggling to wring meaning and redemption out of history’s hard, unyielding surfaces" | |
Jay Antani | |
|
|
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| |
4.5/5 |
|
Friday Night (2003) |
|
"a most rewarding cinematic journey" | |
Jay Antani | |
|
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3/5 |
|
George Lucas in Love (1999) |
|
"Overhyped bit of semi-witty movie geek fluff" | |
Jay Antani | |
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2.5/5 |
|
Girl with a Pearl Earring (2003) |
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"Girl gives us a vividly painted world but only patchily drawn characters — in that sense, it gets Vermeer only half right" | |
Jay Antani | |
|
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4.5/5 |
|
The Ground Truth (2006) |
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"perhaps the most important protest statement yet committed to film since the outbreak of this war..." | |
Jay Antani | |
|
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2/5 |
|
Gulliver's Travels (1939) |
|
"Cheesy but well-drawn" | |
Jay Antani | |
|
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1/4 |
|
Happy Hour (2004) |
|
"Happy Hour is strictly college-level compost, content with its mediocrity, if not wholly unaware of it." | |
Jay Antani | |
|
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4/5 |
|
Harper (1966) |
|
No article available. | |
Jay Antani | |
|
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| |
2/5 |
|
The Hobbit (1977) |
|
"Drab, boring but with an oddly moody tone" | |
Jay Antani | |
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| |
4.5/5 |
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Hobson's Choice (1954) |
|
"What seems superficially like a showcase for the formidable genius of Charles Laughton turns out to be a crowd-pleaser about female liberation." | |
Jay Antani | |
|
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| |
3.5/5 |
|
Hotel (2003) |
|
"it's through its anarchic, try-anything chutzpah that this bizarrely erotic satire succeeds and entertains" | |
Jay Antani | |
|
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2.5/5 |
|
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 | |
|
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| |
4/5 |
|
In This World (2003) |
|
"That Winterbotton was able to pull this venture off at all is remarkable." | |
Jay Antani | |
|
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| |
4/5 |
|
Intermission (2004) |
|
"Dizzily paced and structured, the Irish import Intermission charms with a never-let-‘em-see-you-sweat exuberance" | |
Jay Antani | |
|
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| |
4/5 |
|
The Invisible Man (1933) |
|
"Terrific entry in the James Whale horror canon" | |
Jay Antani | |
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1.5/4 |
|
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 | |
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2/5 |
|
Jesus Camp (2006) |
|
"Jesus Camp doesn't just preach to the converted, it bores and frightens them" | |
Jay Antani | |
|
|
|
| |
5/5 |
|
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 | |
|
|
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| |
3.5/5 |
|
Kontroll (2005) |
|
"a gleeful demonstration of Antal's flair for the medium" | |
Jay Antani | |
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