Rock Star (2001)
"There's more drama in one episode of VH1's Behind the Music, more irony in This Is Spinal Tap, and more reality in The Decline of Western Civilization Part II."
Speedway Junky (2002)
"Hard to watch -- not because of its unflinching realism, but rather for its mawkish reliance on every boy hooker flick from Midnight Cowboy to Johns."
Come Undone (2000)
"The quintessential gay date at the art house."
101 Reykjavik (2001)
"In spirit, 101 Reykjavík is so Almodóvar that it could melt the polar icecap."
Jeepers Creepers (2001)
"If Jeepers Creepers acquires any fans at all, it'll be because the opening act gives us a stake in the action such as movies of any genre rarely offer anymore."
"More about good intentions than great drama."
"The film's satiric skewering of '70s liberalism works because it feels emotionally authentic."
Happy Accidents (2001)
"A warped kind of romantic comedy in which the whole is substantially less than the sum of the parts."
"Someday we're all going to look back on this one and l-a-a-a-augh."
Summer Catch (2001)
"...one more strikeout in a movie that's loaded with them."
"Jay and Silent Bob Strike Back is less a satire of the crass product Hollywood hurls at us than a reflection of it."
Maybe Baby (2000)
"This one's all labor pains, and, in the end, nothing gets delivered."
Tortilla Soup (2001)
"A mushy, shortcut-laden yawn quite apart from the film from which it stole its material."
"A marvelously witty period comedy, consisting in equal measures of lighthearted spoofery and fond homage."
Bubble Boy (2001)
"As sweet and resonant a Candide figure as American cinema has generated in years, Jimmy is also an original and undeniable metaphor for adolescent apartness."
Rat Race (2001)
"Zucker and Breckman get more than enough humor out of sharp set pieces and smartly scripted character clashes to sprint all the way to the finish line."
Captain Corelli's Mandolin (2001)
"Good old-fashioned romantic entertainment, just restrained enough to skirt schmaltz."
American Outlaws (2001)
"It takes a special kind of stinker to turn an up-and-comer with the wily presence of a young Steve McQueen into a tousle-haired action figure."
"The visceral force of Lumumba is a sober reminder that there's nothing more incendiary than the reopening of a forgotten chapter of history."
The Others (2001)
"The Others stands apart merely for recognizing that animatronic gargoyles are no substitute for unhinged neuroses."
American Pie 2 (2001)
"What was passably cute the first time seems much more puerile and shrill here."
An American Rhapsody (2001)
"Its emotional sweep is ultimately undercut by murky characterizations and generic plotting."
Session 9 (2001)
"May not quite be more than the sum of its creepy parts, but as a reality-is-fear launch into workaday darkness, it clearly points toward the horror genre's best destiny."
The Deep End (2001)
"Makes for hypnotic viewing, anchored by a star who's the very model of grace under pressure."
All Over the Guy (2001)
"Loaded with smart, sarcastic one-liners and clever potshots at sexless studio movies like In & Out."
Osmosis Jones (2001)
"Suffers from schizophrenia."
"While talky and gimmicky, this witty Gallic film spins a sci-fi scenario near enough to reality that anyone who frequents the information superhighway can relate."
Apocalypse Now Redux (2001)
"The wealth of pure stuff here, as well as its new proximity to sociopolitical reality, makes Apocalypse Now Redux the best movie of the summer by far."
The Princess Diaries (2001)
"The film is broad, cute, and calculated at every turn."
Rush Hour 2 (2001)
"It's tastier this time around because of the established rapport between Jackie Chan and Chris Tucker."
Original Sin (2001)
"The script rambles between airy pomposities ... and atrocious ribaldries."
"A dull, treacly, and predictable entry in the Feel-Good Cross-Cultural U.K. Comedy sweepstakes."
Wet Hot American Summer (2001)
"Often it's funny, and often it isn't."
The Monkey's Mask (2001)
"In Porter's capable hands, Jill Fitzpatrick's a feisty, vulnerable P.I. deserving of her own movie franchise."
"The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes."
Planet of the Apes (2001)
"The most disappointing aspect of Planet of the Apes is that, despite its presentation, the film is so very ordinary, without urgency or revelation."
Bread & Tulips (2001)
"Soldini's movie gets away with more than it should on warmth alone -- most of it emanating from Licia Maglietta."
Adventures of Felix (2001)
"Optimistically explores how vastly different people can come together, and how any journey is more about what happens along the way than simply getting from one place to another."
Downtown 81 (2001)
"It captures the youthful excitement of a burgeoning creative movement."
"An awkward hybrid of Kitano yakuza satire and 'hood drama."
America's Sweethearts (2001)
"It's dull, two-dimensional, and totally toothless."
Hedwig and the Angry Inch (2001)
"Dazzlingly, Mitchell has opened up what was essentially a performance concert piece and reinvented the movie musical. You go, girl."
Ghost World (2001)
"Both savagely funny and poignant for anyone who's ever had a friendship that felt like their only connection to the outside world."
Jurassic Park III (2001)
"A sturdy, watchable, Saturday-afternoon-serial throwback that teems with cool creatures. But it's too prefab to really deliver on the promise of 'intense sci-fi terror' written into the movie's MPAA rating description."
The Score (2001)
"Like a diet cola, The Score has fizz, but very little savor and no calories to speak of."
"A deeply cynical movie and simultaneously an irritating, moronic piece of work."
"A harebrained, awkward, and dramatically muddled historical pageant."
"There's nothing shocking anymore about [Clark's] zit-pocked brand of titillation."
Legally Blonde (2001)
"Overloaded with calculated stand-up-and-cheer moments, and there are far too many close-ups of Elle's cuddly Chihuahua."