Tomato 4.5/5
Ballast (2008)
"The audio is occupied by only the sounds the characters make ... moments of silence open up an emotional void."
Matthew Sorrento
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Brokeback Mountain (2005)
"Book Review of Reading Brokeback Mountain: Essays on the Story and the Film (edited by Jim Stacy)"
Splat 2/5
The Butch Factor (2009)
"Well intended but, ultimately, repetitive and less than insightful."
Phil Hall
Crazy Heart (2009)
"Often feels like a half-hearted, half-assed remake of Tender Mercies."
Tomato 8/10
Elevator to the Gallows (1957)
"A reflexive exercise in noir."
Tomato 7/10
Encounters At the End of the World (2007)
"This purported nature documentary muses on everything it encounters."
Tomato 2.5/5
Flying Padre (1951)
"Minor, mild early effort from Stanley Kubrick."
Tomato 5/5
Ginevra's Story: Solving the Mysteries of Leonardo da Vinci's First Known Portrait (1999)
"A welcome addition to the year's non-fiction filmmaking releases."
Splat 1/5
The Great Mr. Handel (1942)
"Mr. Handel was certainly great, but this biopic is certainly not."
Hello, Dolly! (1969)
"It is a work of great entertainment, a product of an era when people looked up at a screen and saw movies instead of cinema."
Tomato 4/5
In Search of Mozart (2006)
"Invigorating celebration of the great composer's life and music."
Tomato 3.5/5
Invictus (2009)
"Morgan Freeman's role in Invictus is a universe away from his role in Lean on Me, even if both characters turn around troubled institutions."
"As Nelson Mandela, Morgan Freeman functions as a South African version of Charlie Chan, spouting fortune cookie-style wisdom in an appropriately wily manner that disarms the racial agitation of black and white foes alike."
The Lovely Bones (2009)
"Jackson's newest is his worst."
Tomato 9/10
Play It Again, Sam (1972)
"Apart from its fantastic elements, Woody's script of Sam finds a deft blend of the comic and romantic."
Sherlock Holmes and the Spider Woman (1944)
"Gale Sondergaard brings a healthy dose of camp glamour as the eponymous villain."
Sherlock Holmes and the Voice of Terror (1942)
"John Rawlins, normally a minor director, did a smashing job in framing the story with moody noir-style cinematography."
Show Boat (1936)
"Represents the apex of Hollywood musical productions."
Tell No One (2008)
"As brisk as things become, clarity wins out, as the hand-held camerawork Bourne for many a chase sequence has no place here."
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