|
——
|
Satan's School For Lust (2002)
|
"Surprisingly dull lesbian sex scenes."
|
Michael Scrutchin
|
|
64%
|
Rosencrantz & Guildenstern Are Dead (1991)
|
"By trying to take advantage of the medium, Stoppard loses track of what makes his work so wonderful. This belongs on the stage."
|
Rob Vaux
|
|
35%
|
Gung Ho (1986)
|
"The stereotypes are too broad for comfort, despite some funny moments."
|
Rob Vaux
|
|
96%
|
The Nightmare Before Christmas (1993)
|
"A decade of overexposure still can't diminish its iconoclastic glee."
|
Rob Vaux
|
|
——
|
Maniacal ()
|
"At the very least this film may be a gorehound's wet dream with all the surprisingly well-executed exploding heads, neck-slashings, eye-gougings, and disembowelings. Much of it looks ridiculously fake, but Herschell Gordon Lewis would be proud."
|
Michael Scrutchin
|
|
87%
|
The Quiet American (2003)
|
"It strikes hardest... when it reminds you how pertinent its dynamics remain. Fifty years after the fact, the world's political situation seems little different, and [director Phillip] Noyce brings out the allegory with remarkable skill."
|
Rob Vaux
|
|
98%
|
The 39 Steps (1935)
|
"The "innocent man" notion has been copied and recopied for decades, but few have the minerals to stand with this one."
|
Rob Vaux
|
|
61%
|
D.O.A. (1988)
|
"It's not on the same level as the original, but it still manages a few enjoyable twists."
|
Rob Vaux
|
|
44%
|
Rocky IV (1985)
|
"A camp classic, funny for all the wrong reasons."
|
Rob Vaux
|
|
81%
|
Flash Gordon (1980)
|
"If only Ming the Merciless had turned his death ray on the producers..."
|
Rob Vaux
|
|
79%
|
The Thing (1982)
|
"A work of pure suspense unseen since the days of Hitchcock, expertly blended with some of the most gruesome effects ever conceived. The Thing is a brilliant horror film by any standard."
|
Rob Vaux
|
|
78%
|
Mystery Science Theater 3000 - Manos: Hands of Fate (1998)
|
"A truly dreadful movie saved - once again - by the merry pranksters at MST."
|
Rob Vaux
|
|
89%
|
Leaving Las Vegas (1995)
|
"It's still an achievement, though its status is quickly fading. Did Shue really deserve an Oscar nomination for this?"
|
Rob Vaux
|
|
84%
|
Total Recall (1990)
|
"A cheerfully reprehensible bloodfest, spiced up by Verhoeven's imaginative mayhem."
|
Rob Vaux
|
|
78%
|
Beautiful Girls (1996)
|
"Wise and clever, a refreshingly different take on gender relations."
|
Rob Vaux
|
|
44%
|
Casper (1995)
|
"By all standards of logic and reason, this film should be crap... and yet somehow, it succeeds in its modest goals."
|
Rob Vaux
|
|
89%
|
Willy Wonka and the Chocolate Factory (1971)
|
"If "creepy" can be an asset, then this is the best kind of creepy you'll ever find."
|
Rob Vaux
|
|
90%
|
The Purple Rose of Cairo (1985)
|
"Its satirical destruction of the fourth wall disguises a bittersweet lesson on Hollywood dreams and the unpleasant realities they hide."
|
Rob Vaux
|
|
91%
|
Miller's Crossing (1990)
|
"A gleeful riff on a very old genre; the Coens make it sing anew with wit, intensity, and irresistible black humor."
|
Rob Vaux
|
|
92%
|
The Great Escape (1963)
|
"How can you hear that theme song and not want to watch it all over again?"
|
Rob Vaux
|
|
71%
|
Naked Lunch (1991)
|
"While certainly original, its hallucinatory terrain is basically weird for the sake of weird... and ultimately buckles under its own pretense."
|
Rob Vaux
|
|
94%
|
Secrets & Lies (1996)
|
"Terribly overrated but for Brenda Blethyn's devastating realization midway through."
|
Rob Vaux
|
|
29%
|
The Devil's Own (1997)
|
"Unjustly dismissed and really quite watchable, despite Brad Pitt's silly Irish accent."
|
Rob Vaux
|
|
68%
|
Clockers (1995)
|
"A heartfelt but badly unfocused slice-of-urban life from Spike Lee. Depressingly typical of the director's efforts of late."
|
Rob Vaux
|
|
83%
|
Stakeout (1987)
|
"An adequately wacky cops-and-robbers caper. Sharp dialogue and good chemistry between the actors make up for its routine plot twists."
|
Rob Vaux
|
|
76%
|
The Jazz Singer (1927)
|
"Utterly unremarkable; its milestone status is more historical fluke than genuine artistry."
|
Rob Vaux
|
|
88%
|
The Mighty Quinn (1989)
|
"A terrific mystery with a Caribbean beat; Denzel Washington needs to do more movies like this."
|
Rob Vaux
|
|
21%
|
Daylight (1996)
|
"Far more entertaining than it has any right to be."
|
Rob Vaux
|
|
95%
|
48 HRS (1982)
|
"Slick and easy-going, though it's aging badly."
|
Rob Vaux
|
|
80%
|
Bat*21 (Bat 21) (1988)
|
"A good story overwhelmed by routine filmmaking."
|
Rob Vaux
|
|
93%
|
West Side Story (1961)
|
"Musicals simply don't get any better than this."
|
Rob Vaux
|
|
92%
|
Splash (1984)
|
"A sweet good-hearted romance, and the first real sign that both star and director were here to stay."
|
Rob Vaux
|
|
49%
|
Kids (1995)
|
"Utterly repugnant, child pornography masquerading as serious filmmaking."
|
Rob Vaux
|
|
67%
|
Die Hard 2 (1990)
|
"It does its job, and clearly has no ambition to do anything else."
|
Rob Vaux
|
|
0%
|
Wishmaster 2: Evil Never Dies (1999)
|
"A cheap, quick-fix horror sequel that methodically destroys its predecessor's shaky appeal."
|
Rob Vaux
|
|
89%
|
Koyaanisqatsi - Life Out of Balance (1983)
|
"I guarantee you've never seen anything quite like it."
|
Rob Vaux
|
|
83%
|
Narc (2002)
|
"In an era where big stars and high production values are standard procedure, Narc strikes a defiantly retro chord, and outpaces its contemporaries with daring and verve."
|
Rob Vaux
|
|
95%
|
In the Line of Fire (1993)
|
"Solid and well-crafted; neither Eastwood nor Petersen has been quite as good since."
|
Rob Vaux
|
|
62%
|
Turner and Hooch (1989)
|
"Proof of the W.C. Fields adage that you should never work with animals or children."
|
Rob Vaux
|
|
86%
|
Duel (1972)
|
"A simple yet amazingly effective TV thriller. It's a pity; I don't think the director went anywhere..."
|
Rob Vaux
|
|
50%
|
Jag är nyfiken - en film i gult (I Am Curious (Yellow)) (1967)
|
"Is it art, or just Euro-porn? By the end of this mess, you really won't care."
|
Rob Vaux
|
|
97%
|
WarGames (War Games) (1983)
|
"Strangelove Lite; its fear of the computer revolution now seems charmingly quaint."
|
Rob Vaux
|
|
84%
|
Wandâfuru raifu (After Life) (1998)
|
"A true oxymoron, at once endlessly fascinating and terminally dull."
|
Rob Vaux
|
|
59%
|
The Serpent and the Rainbow (1987)
|
"Genuinely chilling, one of Wes Craven's best."
|
Rob Vaux
|
|
48%
|
Black Mask (1999)
|
"They needed to think this one through a little more before commiting it to film."
|
Rob Vaux
|
|
98%
|
Brazil (1985)
|
"The most original movie of the past thirty years; a triumph not only of brilliant filmmaking, but of the director's desire to stay true to his vision."
|
Rob Vaux
|
|
98%
|
Risky Business (1983)
|
"Tom Cruise was never this young, was he?"
|
Rob Vaux
|
|
63%
|
Mad Monster Party (1967)
|
"Clunky but charming; the subject and animatronic effects helped inspire The Nightmare Before Christmas."
|
Rob Vaux
|
|
53%
|
The Naked Gun 33 1/3: The Final Insult (1994)
|
"You'll laugh; what more do you want?"
|
Rob Vaux
|
|
12%
|
Diabolique (1996)
|
"Silly update of the French classic; the ending is an unforgivable cop-out."
|
Rob Vaux
|
75%
22%
63%
85%
46%
40%
