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A.I. Artificial Intelligence (2001) |
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"an unfocused, repetitive mess which blunders through awkward shifts in tone, setting, and time" | |
Harvey O'Brien | |
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About Adam (2001) |
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"Sprightly romantic comedy from Gerry Stembridge notable for being among the first Irish films to lack interest in ‘Irishness’" | |
Harvey O'Brien | |
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About Schmidt (2002) |
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"not the multiplex muncher it has been marketed to be, though it is a worthwhile viewing experience" | |
Harvey O'Brien | |
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Absolute Power (1997) |
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"Despite a stellar cast, meticulous direction and a generally serious approach to its subject, Absolute Power is a lifeless film" | |
Harvey O'Brien | |
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Accelerator (2000) |
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"There is a youthful vibe about the film which represents the energy and enthusiasm with which it has been assembled" | |
Harvey O'Brien | |
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Adaptation (2002) |
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"not so much a movie as it is a thesis on screenwriting" | |
Harvey O'Brien | |
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Affliction (1997) |
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"It is Nolte’s film from beginning to end (though it is briefly stolen by Coburn at times)" | |
Harvey O'Brien | |
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Agnes Browne (1999) |
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"eventually becomes almost unbearable, especially when it descends into melodrama and fantasy" | |
Harvey O'Brien | |
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Air Force One (1997) |
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"The most surprising thing about it is how well it works" | |
Harvey O'Brien | |
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Alice in the Cities |
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"Its concern with German identity and with the influence of American materialism on the spiritual health of a shattered
culture is a familiar motif." | |
Harvey O'Brien | |
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Alien Resurrection (1997) |
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"Whereas its immediate predecessor was uneven roughly in halves, Alien Resurrection is consistently uneven, wavering between ridiculous and interesting throughout" | |
Harvey O'Brien | |
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All About My Mother (1999) |
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"plays with the conventions of the genre by emphasising unusual emotional responses and manipulating identification" | |
Harvey O'Brien | |
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Almost Famous (2000) |
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"it dallies in the details in a way which will probably appeal best to those who see themselves in the place of its central character and are enjoying the ride" | |
Harvey O'Brien | |
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Along Came a Spider (2001) |
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"the story has a lot of interesting elements and enough variance from the usual mad serial killer nonsense to make it worthwhile" | |
Harvey O'Brien | |
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Amelie (2001) |
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"an ebullient evocation of the madness of happiness which is almost as frighteningly intense in its own way as anything the director has done before" | |
Harvey O'Brien | |
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America's Sweethearts (2001) |
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"There are a few laughs in there and it does have a splendid cast of talented comic actors, but that is just not enough to make it worth seeing" | |
Harvey O'Brien | |
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American Beauty (1999) |
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"not necessarily quite the revelation it seems intended to be, but it is good" | |
Harvey O'Brien | |
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American History X (1998) |
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"Though simplistic in many respects, the film dives straight into difficult and important issues" | |
Harvey O'Brien | |
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American Pie (1999) |
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"Funny and surprisingly good natured teenage sex comedy in which the bulk of the humour centres on teenage angst instead of comic porno" | |
Harvey O'Brien | |
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American Pie 2 (2001) |
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" this film was only ever going to be a cookie cutter sequel. Its strongest card is that the cutter was so good in the first place" | |
Harvey O'Brien | |
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American Psycho (2000) |
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"while an astonishingly good adaptation of the unfilmable novel, Mary Harron’s film is anachronistic and irrelevant" | |
Harvey O'Brien | |
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Amistad (1997) |
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"it is so obvious that Spielberg is trying to push our buttons that we pull back from him and get hostile" | |
Harvey O'Brien | |
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Amores Perros (2001) |
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"a hyperkinetic portamento of interconnected narratives all of which are centrally concerned with the seedier side of life in modern Mexico" | |
Harvey O'Brien | |
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Analyze This (1998) |
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"surprisingly low on concept but high on solid comic characterisation and one-liners until its misjudged final reel" | |
Harvey O'Brien | |
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Angel Eyes (2001) |
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"not a film anyone really needs to see, but it is a solid genre entry which should appeal to fans of romantic fiction" | |
Harvey O'Brien | |
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Angela's Ashes (1999) |
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"Yet despite all of the craft, the story elements are numbingly familiar, so much so that it is difficult to feel anything for the characters" | |
Harvey O'Brien | |
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Antz (1998) |
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"one of the few genuine attempts to articulate political concepts though anthropomorphism" | |
Harvey O'Brien | |
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Any Given Sunday (1999) |
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"an uninsightful, superficial trip through another of Stone’s postmodern mindscapes where stream of consciousness has replaced consciousness itself." | |
Harvey O'Brien | |
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Apt Pupil (1998) |
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"kinky and fetishistic as it might be at times, it is often all too believable as a meditation upon the dynamics of power in human interrelationships" | |
Harvey O'Brien | |
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Arlington Road (1999) |
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"This interplay between ideals and realities extends to its configuration not only of large-scale social forces, but of personal relationships" | |
Harvey O'Brien | |
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Armageddon (1998) |
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"The dialogue is mouthed with straight-faced abandon by a cast of actors who appear to be having varying levels of fun" | |
Harvey O'Brien | |
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As Good as It Gets (1997) |
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"contrived dramatic situations and the lack of real psychological insight" | |
Harvey O'Brien | |
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The Assignment (1997) |
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"helped immeasurably by its three leading performers, who give it an added level of watchability" | |
Harvey O'Brien | |
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Austin Powers in Goldmember (2002) |
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"Fans will enjoy it because it is very much more of the same. Non fans will not be converted because it is very much more of the same." | |
Harvey O'Brien | |
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Austin Powers: International Man of Mystery (1997) |
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" It’s mostly just one gag after another, and while some of them work, your tolerance for the film on the whole will depend on just how much you enjoy the general hijinks" | |
Harvey O'Brien | |
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Austin Powers: The Spy Who Shagged Me (1999) |
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"an equally unremarkable succession of spoof gags and sexual innuendo which if it worked for you the first time will probably work again" | |
Harvey O'Brien | |
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The Avengers (1998) |
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"a desperate reaching towards something ineffable which it never seems able to reach and so compensates for by making as much of a noisy spectacle of itself as possible" | |
Harvey O'Brien | |
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