Authors

Harvey's Movie Review

Rating Title | Year Quote Author
1 85%

Slap Shot (1999)

"It is questionable just how critical the film is of violence in sports despite its overriding thematic concern with how degrading it is"

Posted Jan 1, 2000

Harvey O'Brien

2 12%

Sphere (1998)

"Lacking genuine drama in the dynamics of story and characer, there really is little left for the audience to do but notice its flaws"

Posted Jan 1, 2000

Harvey O'Brien

3 77%

O Brother, Where Art Thou? (2000)

"a real treat for anyone who genuinely enjoys and appreciates the cinema"

Posted Jan 1, 2000

Harvey O'Brien

4 43%

Ravenous (1999)

"It's hard to ignore entirely, though it may well strike you in the wrong mood and simply seem like a waste of time and talent"

Posted Jan 1, 2000

Harvey O'Brien

5 56%

Deep Blue Sea (1999)

"Too ridiculous to be taken seriously, too serious to be campy entertainment, the film suffers from an inflated sense of its own ability to generate tension"

Posted Jan 1, 2000

Harvey O'Brien

6 96%

Sling Blade (1996)

"predictable, parabalistic tale which raises various moral questions about tolerance, charity, physical and emotional abuse, and friendship"

Posted Jan 1, 2000

Harvey O'Brien

7 35%

Murder at 1600 (1997)

"It moves swiftly, has plenty of action and keeps changing the prime suspect every fifteen minutes or so, making sure everyone is still awake"

Posted Jan 1, 2000

Harvey O'Brien

8 96%

Village of the Damned (2004)

"not sure enough of its material to give full vent to the questions of human behaviour which seem intrinsic to the subject"

Posted Jan 1, 2000

Harvey O'Brien

9 ——

Shi di chu ma (The Young Master) (1980)

"Not a film for all tastes, but great fun if you're in the right frame of mind."

Posted Jan 1, 2000

Harvey O'Brien

10 94%

Three Kings (1999)

"It is easy to miss amid the noise and haste, but there is a very conventional story in here with little that is genuinely original and nothing that is truly subversive"

Posted Jan 1, 2000

Harvey O'Brien

11 48%

The Way of the Gun (2000)

"Its nihilism may be ironic and postmodern and its clichés may raise the odd unintended chuckle, but it is a strong film which manages to be clever without being smarmy"

Posted Jan 1, 2000

Harvey O'Brien

12 66%

Stuart Little (1999)

"Minkoff keeps the pace and tone lively despite the occasional sermonising"

Posted Jan 1, 2000

Harvey O'Brien

13 45%

The Cell (2000)

"the elaborate set ups and decoration belie how shallow and unrevealing it all is"

Posted Jan 1, 2000

Harvey O'Brien

14 30%

Screamers (1996)

"providing the requisite conceptual richness and some fascinating plot possibilities which are not entirely capitalised upon"

Posted Jan 1, 2000

Harvey O'Brien

15 79%

Everyone Says I Love You (1996)

"so devoutly obsessed with its own intertextuality that it becomes painfully transparent"

Posted Jan 1, 2000

Harvey O'Brien

16 79%

Shanghai Noon (2000)

"Most of it is very cartoonish, with Jackie struggling gamely with his English-language dialogue against Wilson's vocally sophisticated performance"

Posted Jan 1, 2000

Harvey O'Brien

17 81%

Wonder Boys (2000)

"a nice little movie which slips through a lot of generic and otherwise definitive cracks"

Posted Jan 1, 2000

Harvey O'Brien

18 98%

All About My Mother (1999)

"plays with the conventions of the genre by emphasising unusual emotional responses and manipulating identification"

Posted Jan 1, 2000

Harvey O'Brien

19 86%

Jackie Brown (1997)

"This is a serious film, and this seems to have surprised a great many critics and viewers alike"

Posted Jan 1, 2000

Harvey O'Brien

20 75%

The Mighty (1998)

"Moving and occasionally quirky drama from Funny Bones director Peter Chelsom"

Posted Jan 1, 2000

Harvey O'Brien

21 80%

Private Parts (1997)

"Entertaining if self-serving biography of radio superstar Howard Stern"

Posted Jan 1, 2000

Harvey O'Brien

22 76%

Amistad (1997)

"it is so obvious that Spielberg is trying to push our buttons that we pull back from him and get hostile"

Posted Jan 1, 2000

Harvey O'Brien

23 73%

In & Out (1997)

"Given the wacky and frequently surreal style of humour in the first half, what prompts the sudden reliance on long dialogue scenes in the latter?"

Posted Jan 1, 2000

Harvey O'Brien

24 70%

Shaft's Big Score! (2000)

"The story doesn't hold the viewer's attention and though professionally put together, it lacks a real sense of character"

Posted Jan 1, 2000

Harvey O'Brien

25 100%

Le Samouraï (The Godson) (2005)

"maintains a sombre, effective tone throughout"

Posted Jan 1, 2000

Harvey O'Brien

26 96%

The Insider (1999)

"Mann seems aware of how to generate atmosphere, but doesn't have the vision to integrate fragmentary moments into a satisfying work of cinema"

Posted Jan 1, 2000

Harvey O'Brien

27 71%

The Last Days of Disco (1998)

"Stillman is like a preacher on a street corner in heavy traffic. It's hard to hear him clearly and it might not be worth it anyway"

Posted Jan 1, 2000

Harvey O'Brien

28 95%

Antz (1998)

"one of the few genuine attempts to articulate political concepts though anthropomorphism"

Posted Jan 1, 2000

Harvey O'Brien

29 80%

Slums of Beverly Hills (1998)

"really more a series of anecdotes than an actual narrative, but it is filled with amusing insights and entertaining incident"

Posted Jan 1, 2000

Harvey O'Brien

30 75%

The North Avenue Irregulars (1979)

"very much the type of 'family film' to which Disney had increasingly turned in this era and which paid off relatively well"

Posted Jan 1, 2000

Harvey O'Brien

31 79%

The Thin Red Line (1998)

"a unique and powerful film, as might be expected from the director of Badlands and Days of Heaven"

Posted Jan 1, 2000

Harvey O'Brien

32 55%

A Perfect Murder (1998)

"for the most part a well worked thriller which takes familiar ingredients and adds enough narrative flourishes to keep it interesting"

Posted Jan 1, 2000

Harvey O'Brien

33 90%

Days of Being Wild (A Fei zheng chuan) (1990)

"concerned not with the resolution of conflict or even of ideas, but with an exploration of the conflicting patterns of need in dissatisfied human beings"

Posted Jan 1, 2000

Harvey O'Brien

34 92%

Saving Private Ryan (1998)

"There is some rich material here, but it is in constant danger of being lost"

Posted Jan 1, 2000

Harvey O'Brien

35 57%

Pitch Black (2000)

"sincere enough in intention to avoid the taint of snigger-up-the-sleeve exploitation which mars so many genre films working with this level of budget"

Posted Jan 1, 2000

Harvey O'Brien

36 85%

Billy Elliot (2000)

"there is a certain pleasure to be had from watching the unfolding of the spectacle of dance itself which mainstream cinema has been deprived of for far too long"

Posted Jan 1, 2000

Harvey O'Brien

37 75%

The Negotiator (1998)

"It is hardly the pinnacle of contemporary Hollywood filmmaking, but it fills a gap on a slow night."

Posted Jan 1, 2000

Harvey O'Brien

38 81%

Scream 2 (1997)

" It's not just that we've seen it all before in various genre films, we have seen it first time round in Craven/Williamson form, and that's the gag"

Posted Jan 1, 2000

Harvey O'Brien

39 64%

EdTV (1999)

"better organised and less pretentious than The Truman Show, but no less moot"

Posted Jan 1, 2000

Harvey O'Brien

40 90%

Chungking Express (1996)

"The intersecting lives of several Hong Kong denizens are detailed with a series of coups de cinema designed to make it all seem much more interesting than it really is."

Posted Jan 1, 2000

Harvey O'Brien

41 68%

The Crucible (1996)

"the real power of the piece is still in its literary and theatrical qualities, namely its structure and pointed dialogue, performed admirably by a top cast"

Posted Jan 1, 2000

Harvey O'Brien

42 95%

Fireworks (Hana-bi) (1997)

"Takeshi's latest film continually reminds us that he possesses one of the most distinctive and unique visions in contemporary world cinema"

Posted Jan 1, 2000

Harvey O'Brien

43 93%

My Life to Live (It's My Life) (Vivre sa vie: Film en douze tableaux) (1962)

"Godard amuses himself by playing with the conventions of cinematic representation"

Posted Jan 1, 2000

Harvey O'Brien

44 64%

The X-Files - Fight the Future (1998)

"slackly narrated and prone to irritating leaps in logic which one is meant to presume are deliberate"

Posted Jan 1, 2000

Harvey O'Brien

45 96%

Richard III (1995)

"certainly worth watching as an important moment in the postmodern evolution of The Bard"

Posted Jan 1, 2000

Harvey O'Brien

46 84%

Erin Brockovich (2000)

"Its deliberate sacrifice of political resonance in favour of a portrait of successful female self-realisation may not endear it to some, but it is engrossing"

Posted Jan 1, 2000

Harvey O'Brien

47 88%

Boys Don't Cry (1999)

"a simplistic homage to a woman's right to choose to the extent that she can become not only a man, but a better man than any biological male"

Posted Jan 1, 2000

Harvey O'Brien

48 56%

Velvet Goldmine (1998)

"It has definite cult possibilities because while there is much that is both striking and spectacular and it is quite cinematic, it is also disorganised"

Posted Jan 1, 2000

Harvey O'Brien

49 71%

eXistenZ (1999)

"Videodrome for the Playstation generation, a vision of the near future where the war between realpolitik and escapism is being fought over video games"

Posted Jan 1, 2000

Harvey O'Brien

50 41%

The Ninth Gate (1999)

"Meticulously crafted but poorly scripted yarn"

Posted Jan 1, 2000

Harvey O'Brien

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