Tomato |
Ben X (2008) |
"... not a subtle film, but it is driven with such passion and emotion that I was riveted throughout the drama." |
Sean Axmaker |
- |
Che (2008) |
"Steven Soderbergh and Che" |
Sean Axmaker |
Tomato |
Chocolate (2009) |
"... delivers the "Oooh, that's gotta hurt" brand of Hong Kong stunts that can still make you wince." |
Sean Axmaker |
Tomato |
A Christmas Tale (2008) |
"... pulses with human life in all its terrible and beautiful irrationality." |
Sean Axmaker |
Splat |
Cleopatra (1934) |
"... DeMille's lavish but stilted film... is all production value and no style." |
Sean Axmaker |
Tomato |
Crimes of the Future (1970) |
"... essential to Cronenberg fans, (a) dispassionate portraitsof fictional experiments in the mutation of mankind in the near future." |
Sean Axmaker |
Tomato |
The Curious Case of Benjamin Button (2008) |
"... a magnificent production." |
Sean Axmaker |
Tomato |
Deadly Sweet (1967) |
"... a film of marvelous energy and delirious imagery." |
Sean Axmaker |
Tomato |
Detective Bureau 2-3: Go to Hell Bastards! (1963) |
"[Seijun] Suzuki directs it all with tongue-in-cheek attitude, not so much making fun of it as making it fun..." |
Sean Axmaker |
Splat |
Don Quixote de Orson Welles (2001) |
"[Jess] Franco's version is not even an approximation, never mind a reconstruction.... But even as a visual record of Welles' raw footage it's a travesty." |
Sean Axmaker |
Tomato |
Doubt (2008) |
"A lot of viewers get caught up in trying to figure out what really happened, when in fact the film is more of a Rorschach test." |
Sean Axmaker |
Tomato |
The Earrings of Madame De... (1953) |
".. not just directed, not just choreographed, but sculpted in time and space, with actors and decor as the raw materials and the camera carving out the story." |
Sean Axmaker |
Tomato |
Enchanted April (1992) |
"... behind that precious romanticism is a genuine commitment to this emotional renewal." |
Sean Axmaker |
Tomato |
The Fall of the House of Usher (1928) |
"A strange mix of Gothic design, modern austerity, expressionist angles, graceful camerawork and surreal effects, it's an atmospheric classic..." |
Sean Axmaker |
Tomato |
FAUST (1926) |
"... one of the most visually magnificent films of the silent era." |
Sean Axmaker |
Tomato |
Finances Of The Grand Duke (1924`) |
"It's silly fluff but a charming lark of a romantic espionage adventure..." |
Sean Axmaker |
Tomato |
Five (1951) |
"... more allegorical than realistic, full of debates on morality and responsibility (and) an eerie sense isolation." |
Sean Axmaker |
Tomato |
Frisco Jenny (1932) |
"... the scenes of the homeless lining up along the streets with what’s left of their possessions echoes with the armies of homeless in the 1932 depression." |
Sean Axmaker |
Tomato |
The Gaucho (1928) |
"... one of the best, most mature and most interesting films in his career." |
Sean Axmaker |
Tomato |
Grizzly Man (2005) |
"Herzog is even more fascinated by [Treadwell's] contradictions, his blind passion, and his inflated sense of privilege..." |
Sean Axmaker |
Tomato |
Gumshoe (1972) |
"... a loving tribute to old Hollywood detective movies, a playful tale of one man's attempt to live out a movie fantasy and a grounded drama of a man who understands the difference..." |
Sean Axmaker |
- |
Hamlet 2 (2008) |
"Steve Coogan: "Can we get away with this?"" |
Sean Axmaker |
Tomato |
Heroes for Sale (1933) |
"The schizophrenic tone twists as much as the plot... but Wellman's gritty sensibility makes it simmer." |
Sean Axmaker |
- |
Humpday (2009) |
"Lynn Shelton on Humpday" |
Sean Axmaker |
Tomato |
IMAX - Haunted Castle (2001) |
"[Murnau] creates great dramatic tension and an ominous mood in the stillness of his compositions and the lugubrious movement of his actors." |
Sean Axmaker |
Tomato |
La Prise De Pouvoir Par Louis XIV (1966) |
"[Roberto] Rossellini directs less like a drama than a pageant, with a largely non-professional cast arranged like figures in a painting..." |
Sean Axmaker |
Tomato |
Let the Right One In (2008) |
"Tomas Alfredson's Swedish vampire film / young love horror piece... is grounded in a devoted friendship that bonds two outcasts in a predatory world." |
Sean Axmaker |
Tomato |
Magnificent Obsession (1954) |
"[Sirk's] unreal exaggerations offer a beautiful world of beautiful people and tortured emotions and grand sacrifice to the altar of love." |
Sean Axmaker |
Tomato |
Midnight Mary (1933) |
"Loretta Young puts on her tough girl act, the cocky, been-around-the-block pose of street smarts and world-weary experience, for Midnight Mary..." |
Sean Axmaker |
Tomato |
Murder at the Vanities (1934) |
"... fast-moving, fast-talking, sexy little entertainment..." |
Sean Axmaker |
Tomato |
Murder at the Vanities (1934) |
"... fast-moving, fast-talking, sexy little entertainment..." |
Sean Axmaker |
Tomato |
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2009) |
"... a smartly made look at an otherwise neglected aspect of film history and culture, packed with colorful stories, witty observations, punky attitude and real history..." |
Sean Axmaker |
Tomato |
Of Time and the City (2009) |
"... a wistful, funny, satirical, angry and forgiving portrait." |
Sean Axmaker |
Tomato |
Other Men's Women (1931) |
"... set around the railroad yards and Wellman fills the film with scenes of the men and machines in action." |
Sean Axmaker |
Tomato |
Our Man in Havana (1959) |
"... a lampoon of international espionage games and the gullible officers running Britain's MI6 like a old boy's club." |
Sean Axmaker |
Tomato |
The Purchase Price (1932) |
"Wellman knows how to delivers the sex..." |
Sean Axmaker |
- |
Rachel Getting Married (2008) |
"Jonathan Demme on Rachel Getting Married - "As long as we are born into families, it's going to be a big deal"" |
Sean Axmaker |
Splat |
The Reader (2008) |
"Truth and guilt and responsibility are not just themes here, they are topics of debate and we keep returning to the seminar and the courtroom to hear those debates." |
Sean Axmaker |
Tomato |
The Reckless Moment (1949) |
"It certainly makes for the purest and most impossible love of [Max] Ophuls' films, and for me, the most emotionally compelling." |
Sean Axmaker |
Splat |
Revolutionary Road (2008) |
"These are performances - and lives - lived in quotation marks." |
Sean Axmaker |
Tomato |
Roman Polanski: Wanted and Desired (2008) |
"The film doesn't flinch from Polanski abhorrent crimes... But that's only half the story." |
Sean Axmaker |
Tomato |
The Seventh Seal (1957) |
"I never realized what an astoundingly beautiful film it was." |
Sean Axmaker |
Splat |
The She Beast (1966) |
"It tips right into bad Keystone Kops komedy..." |
Sean Axmaker |
Splat |
The Spirit (2008) |
"It's a film more designed than directed." |
Sean Axmaker |
Tomato |
Stairway to Heaven (1946) |
"(The filmmakers') creativity is both fantastic and organic, their imagery spellbinding and gorgeous, and their scripting clever and witty." |
Sean Axmaker |
Tomato |
Stereo (1969) |
"... essential to Cronenberg fans, (a) dispassionate portraitsof fictional experiments in the mutation of mankind in the near future." |
Sean Axmaker |
Tomato |
Superman (1941) |
"... Superman never looked more beautiful in flight or heroic in action than in these cartoon classics." |
Sean Axmaker |
- |
Touch of Evil (1958) |
"Janet Leigh on Touch of Evil" |
Sean Axmaker |
- |
Touch of Evil (1958) |
"Rick Schmidlin on Touch of Evil" |
Sean Axmaker |
- |
Touch of Evil (1958) |
"Bob O'Neil on Touch of Evil" |
Sean Axmaker |
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