The Mexican (2001)
"J.H. Wyman's clever script takes chances and includes some truly satisfying payoffs."
The Caveman's Valentine (2001)
"Pretentious neo-Gothic hokum with yawning gaps in logic and credibility."
See Spot Run (2001)
"There's nothing about it quite so hilarious as the writing credits, which list no fewer than five writers and which, it is rumored, disguise the participation of up to five more."
3000 Miles to Graceland (2001)
"Nonsense from its first frame to its last, stupid beyond even the conventions of its genre, it begs the question of responsibility."
Last Resort (2001)
"When will American filmmakers, mainstream and independent alike, tire of being shown up by international movies that capture authenticity as a matter of course?"
The Price of Milk (2001)
"The Price of Milk is one of the oddest offerings of the season - albeit in a welcome way - but its creamy serendipity is a bit too thick to swallow."
Down to Earth (2001)
"Rock can't really be expected to pull off the love scenes, but for a man trying to reach the largest possible audience, his comedy is surprisingly uninspired."
Nico and Dani (Krámpack) (2000)
"Gay deftly explores the casual experimentation between the two boys."
Sweet November (2001)
"What keeps it (barely) from being completely intolerable is Keanu Reeves' hilariously awful lead performance."
Recess: School's Out (2001)
"The deadly combo of leaden animation, sorry scriptwriting, and limp pacing throttle every attempt at humor."
"Masters the cinema's toughest special effect -- naturalism -- and hits every nail on the head."
The Million Dollar Hotel (2000)
"An exercise in whimsy."
"Hannibal is Godfather III-level slumming."
Saving Silverman (2001)
"Not even a giddy wrap-up featuring Diamond himself can atone for the dreck that's come before it."
"Transparently misogynist at its core."
"Even by the thoroughly undemanding standards of its burned-out genre, Valentine is vacuous, tedious, and perfunctory."
Left Behind: The Movie (2001)
"Solid, unexceptional mix of thrills and human drama."
Head over Heels (2001)
"The screwball comedy in general misses as often as it hits."
In the Mood for Love (2001)
"The movie needs to be seen twice, so that highly developed expectations can be washed away into irrelevance. Then one can see what Wong has done."
Shadow of the Vampire (2000)
The Invisible Circus (2001)
"Ends up having all the heft of a Nancy Drew mystery decked out in a tie-dyed T-shirt and peasant skirt."
Sugar & Spice (2001)
"A surprising amount of the humor stems from well-drawn caricatures and cleverly seeded payoffs."
"Lena Endre, with her throaty laugh and natural warmth, gives a heartbreaking performance as a woman slowly sapped of her joie de vivre."
Series 7: The Contenders (2001)
"As with its sleazy, real-life predecessors, you actually come to care about its characters."
The Wedding Planner (2001)
"The film's greatest flaw is its miscast leads, who conjure up zero dewy-eyed, wish-fulfillment magic."
The Gift (2000)
"An acceptably suspenseful, watchable Southern Gothic whodunit."
The Pledge (2001)
"Jack Nicholson passes on the ham, delivering a subtle, weighted performance that neatly complements Sean Penn's growing confidence as a director."
"In fondly revisiting (carbon copying, it often seems) his first film, he's proved merely what we already knew: that he can unleash comic mayhem par excellence. Enough of the little boys with big guns. It's time for Guy to grow up."
Save the Last Dance (2001)
"Stiles and Thomas are engaging young performers."
Double Take (2001)
"Slick, self-assured, and thoroughly awful, Double Take is a primo contender for worst movie of 2001."
"Scripted with a subtlety befitting Tinkertoys, directed in a manner that would shame the small-screen union hacks who rap out Xena: Warrior Princess, and acted with the sleepy glumness of a therapy session."
Dracula 2000 (2000)
"Even true believers will have a hard time sinking their fangs into this thoroughly perfunctory affair."
The Claim (2000)
"Not likely to please anyone."
"A riveting, semi-documentary drama, and yet calling it that is a disservice to just how suspenseful and stylish an entertainment it is."
All the Pretty Horses (2000)
"It's as if Thornton and scripter Ted Tally are so concerned with big themes and Old West mythology that they forget they've got to present a real live cowboy in order for any of it to work."
An Everlasting Piece (2001)
"An Everlasting Piece is just like getting a shoddy haircut from a timid barber."
Thirteen Days (2000)
"If the Cuban Missile Crisis was America's premier postwar nail-biter, then Thirteen Days undersells it -- somehow, the filmmakers made it kinda dull."
O Brother, Where Art Thou? (2000)
"For all its originality, O Brother doesn't seem to have a point, or enough spark to distract us from the lack thereof."
State and Main (2000)
"For all its wit and sharp casting, State and Main is way too pleased with itself to be funny or endearing."
The House of Mirth (2000)
"The miscast leads make this stately, BBC-ish adaptation ponderous instead of pointed."
The Family Man (2000)
"A warm, glossy holiday fable that hits some surprisingly sweet notes."
Miss Congeniality (2000)
"A barrage of dangling plot strands, inconsistent characterizations, and suspense-free shootouts."
Before Night Falls (2001)
"Such a sensory experience; in its best moments, the film washes over you like a fever dream."
Cast Away (2000)
"Hanks turns in an Oscar-worthy performance yet again."
Finding Forrester (2000)
"Like its protagonist, Finding Forrester got game."
Dude, Where's My Car? (2000)
"None, repeat, none of this is funny."
What Women Want (2001)
"Meyers' women have precious little on their minds."
"It's so easy to be mesmerized by Chocolat's brilliant indulgences that one abandons reason altogether."
"A passionate, shrewd, and well-cast biopic of 20th-century America's favorite tortured painter."
The Emperor's New Groove (2000)
"The humor will appeal equally to the Mouseketeer generation, the Disney's Blast crowd, and everyone in between."