|
60%
|
John Dies at the End (2013)
|
|
|
|
75%
|
Love Is All You Need (2013)
|
|
|
|
12%
|
Alvin and the Chipmunks: Chipwrecked (2011)
|
|
Philip Brown
|
|
84%
|
Sightseers (2013)
|
|
|
|
93%
|
The Sapphires (2013)
|
|
|
|
78%
|
A Late Quartet (2012)
|
|
|
|
81%
|
The Place Beyond The Pines (2013)
|
|
|
|
92%
|
Silver Linings Playbook (2012)
|
|
|
|
78%
|
The Best Exotic Marigold Hotel (2012)
|
|
Glenn Sumi
|
|
79%
|
Berberian Sound Studio (2013)
|
|
|
|
93%
|
What Richard Did (2013)
|
|
|
|
25%
|
Passion (2013)
|
|
|
|
13%
|
The Bounty Hunter (2010)
|
|
|
|
96%
|
The Kid with a Bike (2012)
|
|
|
|
98%
|
The Artist (2011)
|
|
|
|
38%
|
Oscar and the Lady in Pink ()
|
|
|
|
83%
|
Comic-Con: Episode IV - A Fan's Hope (2012)
|
|
|
|
45%
|
Twixt (2013)
|
|
|
|
76%
|
Kill List (2012)
|
|
|
|
63%
|
The Woman in the Fifth (2012)
|
|
|
|
75%
|
Alps (2012)
|
|
|
|
74%
|
Rampart (2012)
|
|
|
|
——
|
Eldfjall (Volcano) (2011)
|
|
|
|
68%
|
Wuthering Heights (2012)
|
|
|
|
67%
|
Trishna (2012)
|
|
|
|
99%
|
This Is Not a Film (2012)
|
|
|
|
56%
|
Albert Nobbs (2012)
|
|
|
|
77%
|
Killer Joe (2012)
|
|
|
|
78%
|
Jeff Who Lives at Home (2012)
|
|
|
|
73%
|
Like Crazy (2011)
|
|
|
|
83%
|
Your Sister's Sister (2012)
|
|
|
|
32%
|
Fur: An Imaginary Portrait of Diane Arbus (2006)
|
"Think of Fur as a sort of impressionistic Polaroid biopic... its problem is that its subject comes across as widely defined, a placeholder for the creative spirit."
|
Brent Simon
|
|
13%
|
Just My Luck (2006)
|
"A drab, uninteresting mess... displaying the starlet as it does in a seemingly distracted and too frequently puffy-eyed light."
|
Brent Simon
|
|
——
|
Silent Partner (2006)
|
"As a Russian hooker connected to globo-political intrigue, Tara Reid drags out her patented ferret's glare and perpetually furrowed brow for this self-serious but rather silly suspense thriller, whose setting is legit but execution sub-par."
|
Brent Simon
|
|
10%
|
Eaten Alive (1976)
|
"This bayou-set, thinly imagined Psycho knock-off is little more than a derisible piece of slasher mayhem, notable for Tobe Hooper's association and costar Roberta Collins' assertion that star Neville Brand later tried to sexually assault her."
|
Brent Simon
|
|
——
|
Lurking in Suburbia (2006)
|
"Emblematic of what might be called the Ed Burns school of independent cinema -- full of angsty, young-adult jitters and cud-chewing ennui. For some folks, that's interest-piquing praise, others damning dismissal, others still neither here nor there."
|
Brent Simon
|
|
56%
|
The King (2006)
|
"A Southwestern American pastoral of dormant menace, The King is a film of triple-dipped mood that turns on an act of shocking violence, but still seems to substitute willful indistinctness for insight."
|
Brent Simon
|
|
34%
|
The Break-Up (2006)
|
"There's nothing broken about The Break-Up, which turns rom-com conventions on their side in free-wheeling fashion, and in doing so colorfully, wittily celebrates what it is about men and women that both attract one another and drives us crazy."
|
Brent Simon
|
|
73%
|
Twelve and Holding (12 and Holding) (2006)
|
"A refracted glimpse of American suburbia through the eyes of three pre-teens grappling with grief, reprisal and loneliness, the film boasts some great adolescent performances but can't overcome a rigidly partitioned structure and tonal inconsistency."
|
Brent Simon
|
|
39%
|
Scoop (2006)
|
"A ramshackle and laboriously whimsical comedic trifle that falls back on Woody Allen's increasingly tired penchant for nattering faux-realism."
|
Brent Simon
|
|
74%
|
Monster House (2006)
|
"In an era of meticulously muggy, corporate-vetted movies designed to launch possible franchises before the first film has even released, Monster House plays pleasingly to audiences of almost any age, driven by a strong sense of wonderment."
|
Brent Simon
|
|
93%
|
An Inconvenient Truth (2006)
|
"Though generally presented in a fawning, overly obsequious style, the film also has a heartening degree of candor... and its triumph is the manner in which it highlights the notion of political will as a renewable resource."
|
Brent Simon
|
|
——
|
Shockheaded (2002)
|
"A wrongheaded blend of Alan Parker, Raymond Chandler, David Cronenberg and David Lynch that desperately wants to stir up, in noirish fashion, elements of the psychological thriller, horror and revenge genres [and] fails, wholesale."
|
Brent Simon
|
|
21%
|
You, Me and Dupree (2006)
|
"Owen Wilson just does what he does, and allows you to take it or leave it. You, Me and Dupree, then, suffers a slow start and trades too frequently in broad, garish strokes before rallying with some late atypical turns."
|
Brent Simon
|
|
——
|
Robert Ludlum's Covert One - The Hades Factor (2006)
|
"Despite the ridiculously self-important mouthful of a title, this two-part spy miniseries marginally acquits itself as a piece of time-whiling entertainment, if only for the Tom Clancy/armchair homeland security set."
|
Brent Simon
|
|
——
|
Live Feed (2006)
|
"You can often judge the quality of a low-budget flick that happens to have scenes in a strip club by the lithe attractiveness of its pole-dancers, and the girl in the opening scene of this sadistic Hostel rip-off is not exactly a toned beauty."
|
Brent Simon
|
|
——
|
Third Man Out (2005)
|
"A straightforward-to-the-point-of-somewhat-flawed procedural starring erstwhile TV pin-up Chad Allen as a gay detective caught up in a ripped-from-the-newspapers crime story."
|
Brent Simon
|
|
——
|
Harry Knuckles and the Pearl Necklace (2004)
|
"An ultra-low-budget, slapdash, silly, Canadian spy spoof whose big bugaboos are execution and tonal consistency."
|
Brent Simon
|
|
73%
|
Cavite (2006)
|
"Arbitrarily arranged and awfully acted... proof positive that well-meaning creative wishes and savvy, low-fi merging of production means and narrative concept doesn't automatically produce heady results."
|
Brent Simon
|
|
69%
|
A Scanner Darkly (2006)
|
"A thing of unique beauty and free-floating menace, A Scanner Darkly is also about the transmutation of good into evil and back into good, and the willful surrender of freedom in the name of propagandistic safety and betterment."
|
Brent Simon
|
73%
76%
61%
52%
26%
4%
