|
73%
|
Can a Song Save Your Life? ()
|
"For a movie that could have come off like a Hollywood version of something beautiful and tiny, it's actually quite successful."
|
Linda Holmes
|
|
93%
|
The Double ()
|
"It's a very odd, genuinely offbeat film (there were a noteworthy number of walkouts, though that can have as much to do with the timing of other screenings as the reaction to the film), but it burbles and crackles with imagination."
|
Linda Holmes
|
|
31%
|
The Lone Ranger (2013)
|
|
Bob Mondello
|
|
33%
|
Won't Back Down (2012)
|
|
Ella Taylor
|
|
52%
|
Where Do We Go Now? (2012)
|
|
Mark Jenkins
|
|
65%
|
The Campaign (2012)
|
|
Scott Tobias
|
|
0%
|
That's What She Said (2012)
|
|
Stephanie Zacharek
|
|
32%
|
Fanboys (2008)
|
|
Bob Mondello
|
|
92%
|
Farewell, My Queen (2012)
|
|
Mark Jenkins
|
|
96%
|
Searching for Sugar Man (2012)
|
|
Ella Taylor
|
|
70%
|
Sushi: The Global Catch (2012)
|
|
Joel Arnold
|
|
67%
|
Price Check (2012)
|
|
Scott Tobias
|
|
93%
|
Mission: Impossible Ghost Protocol (2011)
|
|
Jeannette Catsoulis
|
|
70%
|
Celeste and Jesse Forever (2012)
|
|
Stephanie Zacharek
|
|
78%
|
A Late Quartet (2012)
|
|
Ella Taylor
|
|
96%
|
Chasing Ice (2012)
|
|
Mark Jenkins
|
|
56%
|
The Revenant (2012)
|
|
Scott Tobias
|
|
92%
|
Silver Linings Playbook (2012)
|
|
Bob Mondello
|
|
92%
|
Silver Linings Playbook (2012)
|
|
Stephanie Zacharek
|
|
78%
|
The Best Exotic Marigold Hotel (2012)
|
|
Ella Taylor
|
|
52%
|
Grassroots (2012)
|
|
Stephanie Zacharek
|
|
97%
|
Ai Weiwei: Never Sorry (2012)
|
|
John Powers
|
|
64%
|
2 Days in New York (2012)
|
|
Stephanie Zacharek
|
|
51%
|
Trouble with the Curve (2012)
|
|
Mark Jenkins
|
|
52%
|
This is 40 (2012)
|
|
Scott Tobias
|
|
4%
|
Virginia (2012)
|
|
Scott Tobias
|
|
91%
|
Into The Abyss (2011)
|
"Herzog unforgettably shows how when you pull tight the straps on men who've lain down to die, it leaves a mark. "
|
Ian Buckwalter
|
|
51%
|
Brighton Rock (2011)
|
"Where the first film had a lawyer spouting Shakespeare, this one mostly has visual panache - crosses and crucifixes rather than dialogue about religion."
|
Bob Mondello
|
|
91%
|
Point Blank (2011)
|
"Director Fred Cavayé has a reputation in France for getting the audience's pulse pounding, and in Point Blank, he does that while mixing in some intriguing social themes and character types that are usually outsiders to the genre."
|
Bob Mondello
|
|
75%
|
Everything Must Go (2011)
|
"Writer/director Dan Rush takes one simple concept from Raymond Carver's spare, evocative, and extremely short story - a sad alcoholic with his furniture on the lawn - and fills in the blanks. Too many of them, as it turns out."
|
Ian Buckwalter
|
|
76%
|
Cidade dos Homens (City of Men) (2007)
|
|
Bob Mondello
|
|
78%
|
Anonyma - Eine Frau in Berlin (A Woman in Berlin) (2009)
|
|
Mark Jenkins
|
|
42%
|
The Taqwacores (2010)
|
"Unapologetically episodic, the movie is designed to awe and shock... and to plunge viewers into a world whose fury is half exotic and half typical of any group of unruly adolescents."
|
Mark Jenkins
|
|
75%
|
The Way Back (2011)
|
"There's an enjoyably old-fashioned brand of adventure at work here, when Weir doesn't handcuff himself with Red scare politics and maudlin sentimentality. The former outweighs the latter, but only just barely."
|
Ian Buckwalter
|
|
84%
|
The Time That Remains (2011)
|
"The silence of the character played by director Elia Suleiman lends the role a kind of invisibility that seems meant as an analogy to his view of the Arab presence in Israel. He's present, yet absent."
|
Ian Buckwalter
|
|
82%
|
Night Catches Us (2010)
|
"The movie evokes its time and place so potently that it almost doesn't matter that Hamilton's script proves unequal to her vision."
|
Mark Jenkins
|
|
89%
|
Let Me In (2010)
|
"Stylish and effectively creepy, if mostly secondhand."
|
Mark Jenkins
|
|
29%
|
New In Town (2009)
|
|
Jeannette Catsoulis
|
|
43%
|
Barry Munday (2010)
|
"A deeply off-putting independent comedy."
|
Scott Tobias
|
|
81%
|
Despicable Me (2010)
|
"It's all thoroughly adorable, and with an overlay that's nearly as odd as Carell's accent: Despicable Me looks a lot like other computer-animated pictures..."
|
Bob Mondello
|
|
51%
|
Observe and Report (2009)
|
"That playlist proves that Observe and Report was shaped by a hip sensibility. Shame that sensibility didn't have more effect on the script."
|
Mark Jenkins
|
|
79%
|
Gran Torino (2009)
|
"Gran Torino is less a sleek hybrid than a multigenre pileup."
|
Mark Jenkins
|
|
89%
|
Moon (2009)
|
"Start calculating the costs to Lunar Industries of its singular form of devaluing, and Moon's central premise stops making sense."
|
Bob Mondello
|
|
62%
|
Lymelife (2008)
|
"For all its emphasis on suburbia and its discontents, Lymelife never quite convinces that its story's environs are essential -- or even all that interesting."
|
Mark Jenkins
|
|
27%
|
Seven Pounds (2008)
|
"Reactions to the movie will largely depend on whether or not viewers decide this time that the divine Mr. Smith has overreached. I say he has -- but I can't tell you why."
|
Mark Jenkins
|
|
98%
|
Let the Right One In (2008)
|
"Lovelier than most bloodsucker flicks, but it doesn't quite transcend its well-chewed genre."
|
Mark Jenkins
|
|
65%
|
Zack and Miri Make a Porno (2008)
|
"Married, a father and pushing 40, Smith is no longer a trustworthy chronicler of 20-something slackers. He still can devise an impressively gamy set piece, but he's misplaced the humanity of his best work."
|
Mark Jenkins
|
|
55%
|
Orphan (2009)
|
"The movie is, as these things go, enjoyably trashy."
|
Nathan Lee
|
|
33%
|
Knowing (2009)
|
"A slog through lazy writing, indifferent acting and blase direction with no hope of anything but chaotic violence as reward."
|
Nathan Lee
|
|
71%
|
Tetro (2009)
|
"A dazzling stylistic exercise, Francis Ford Coppola's Tetro pays tribute to great bygone European filmmakers."
|
Mark Jenkins
|
