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A Scanner Darkly (2006) |
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"As A Scanner Darkly proves, Keanu is the Coolness -- passive blankness, leaden line delivery, and all. Let's hear it for the vague blur." | |
Dana Stevens | |
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A Tribute to Stanley Kubrick (1999) |
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Click here to see the review. | |
David Edelstein, Alex Ross | |
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A.I. Artificial Intelligence (2001) |
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"If only Spielberg's faith in movie magic weren't linked -- biochemically, it now seems -- to a lack of faith in the potential of humankind." | |
David Edelstein | |
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About Schmidt (2002) |
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"Payne's movie is flat, depressed, and at times -- given this director's talent -- disappointingly curdled." | |
David Edelstein | |
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Adaptation (2002) |
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Click here to see the review. | |
David Edelstein | |
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Aeon Flux (2005) |
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"Folks, I'll never understand studios. Aeon Flux is not that terrible. It's certainly more fun than a lot of films that get lovingly showcased." | |
David Edelstein | |
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The Agronomist (2004) |
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"Teeming with the profound chaos and more profound harmony of modern Haiti." | |
David Edelstein | |
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Aileen: The Life and Death of a Serial Killer (2003) |
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"Illuminates Wuornos' tragedy and eats into your mind." | |
David Edelstein | |
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The Alamo (2004) |
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"This is a profoundly ahistoric movie -- a definitive Hollywood muddle." | |
David Edelstein | |
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Alexander (2004) |
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"Seems too puny and fragmented for its mighty subject; it feels as if Stone, for the first time in his career, simply ran out of hot air." | |
David Edelstein | |
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Alfie (2004) |
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"This is an ugly, blue-tinged movie that telegraphs every plot turn." | |
David Edelstein | |
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Alias - The Complete First Season (2001) |
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Click here to see the review. | |
Virginia Heffernan | |
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Alien (1979) |
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"The scariest movie in history is actually a bit shy." | |
Michael Agger | |
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Alien vs. Predator (2004) |
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"Anderson is terrible at giving us our bearings; and he's the only franchise director who fails to generate even a drop of empathy for screaming people who have aliens erupting from their chests." | |
David Edelstein | |
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All The King's Men (2006) |
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"It's Zaillian's overdirection that cooks this whole mess into a flavorless gumbo. He never shows you something just once when he could show it twice and never leaves a point unhammered home." | |
Dana Stevens | |
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Along Came Polly (2004) |
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"One of those films that celebrate spontaneity and risk-taking yet are so formulaic and un-risky that they strangle their own message." | |
David Edelstein | |
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America's Sweethearts (2001) |
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"The movie is a polished muddle, fitfully amusing but with no spine." | |
David Edelstein | |
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American Dreamz (2006) |
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"Many of us have an American Dream: to go to the movies and laugh. The new comedy American Dreamz will fulfill that fantasy for some people." | |
Michael Agger | |
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American Gangster (2007) |
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"What should have been a clash of two opposing moral universes instead comes off as a wan buddy flick." | |
Dana Stevens | |
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An American Haunting (2006) |
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"It's not a true story. If lying is the latest trend in American pop culture (cf James Frey, Kaavya Viswanathan), then An American Haunting is on the cutting edge." | |
Grady Hendrix | |
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American Splendor (2003) |
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"Proof that ordinary guys can hold the comics, and the screen, as well as superheroes. This Halloween, I want to be Harvey Pekar." | |
David Edelstein | |
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American Splendor (2003) |
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Click here to see the review. | |
Jaime Wolf | |
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Amores Perros (2001) |
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"Just keeps coming at you, switching characters, tones, and rhythms to keep you off-guard." | |
David Edelstein | |
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Anchorman: The Legend of Ron Burgundy (2004) |
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"You're not laughing at anchormen. You're laughing at formula movie rituals blown sky-high." | |
David Edelstein | |
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Andrew Lloyd Webber's The Phantom of the Opera (2004) |
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"I'm more inclined to suggest that it be used to entertain the prisoners at Abu Ghraib and Guantanamo -- at least until Amnesty International gets wind of it." | |
David Edelstein | |
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Angels in America (2003) |
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Click here to see the review. | |
Dale Peck | |
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Anger Management (2003) |
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"Strenuous, spottily amusing." | |
David Edelstein | |
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The Animal (2001) |
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"Next to Joe Dirt, The Animal is tolerably amusing." | |
David Edelstein | |
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The Anniversary Party (2001) |
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"I had a hard time maintaining interest in (let along liking) any of these self-involved Hollywood twerps." | |
David Edelstein | |
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Apocalypse Now Redux (2001) |
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"The restored footage, nearly an hour of it, has at once bloated and diluted the work we've known and half-loved, undercutting its still-astonishing strengths while making its flaws leap out with unprecedented clarity." | |
David Edelstein | |
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Apocalypto (2006) |
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"Praising the movie's craftsmanship seems less urgent than communicating the overwhelming experience of watching it: the clammy, claustrophobic dread of being trapped in a torture chamber." | |
Dana Stevens | |
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Aqua Teen Hunger Force Colon Movie Film For Theatres (2007) |
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"ATHF can seem brilliantly deconstructive one moment and stupefyingly boring the next -- or to provide a more accurate ratio, it can follow five brilliant seconds with five straight minutes of boredom." | |
Dana Stevens | |
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The Aristocrats (2005) |
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"There is a special kind of pleasure in hearing jokes that have no redeeming social value. I'd like to think that this is their social value -- an invitation to free the mind." | |
David Edelstein | |
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Armageddon (1998) |
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"Along with the rest of the audience, I jumped when I was meant to jump, laughed when I was meant to laugh, and swallowed a lump in my throat when I was meant to feel moved." | |
David Edelstein | |
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Art School Confidential (2006) |
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"The movie accomplishes the simple-enough task of demonstrating that art school types are pretentious and self-centered. What it fails to reveal is why anyone should care." | |
Josh Levin | |
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The Assassination of Jesse James by the Coward Robert Ford (2007) |
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"It's a shame that The Assassination of Jesse James, a moody epic directed by Andrew Dominik and based on the 1983 novel by Ron Hansen, never goes much deeper than that tag line." | |
Dana Stevens | |
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Assisted Living (2005) |
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"What gives Assisted Living its power is that the film was shot in a real home for the aged, and the patients -- with the exception of Riley's Mrs. Pearlman -- are genuine." | |
David Edelstein | |
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Asylum (2005) |
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"Asylum is all very formal, detached, and, regrettably, sane." | |
David Edelstein | |
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Audition (2001) |
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"A graphic lesson in what happens when you treat women as objects, even objects of reverence." | |
David Edelstein | |
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Austin Powers in Goldmember (2002) |
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"It's an ode to indecent joy." | |
David Edelstein | |
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Austin Powers: The Spy Who Shagged Me (1999) |
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Click here to see the review. | |
David Edelstein | |
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The Aviator (2004) |
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"Few biopics with this kind of crazy scope have ever been so seamless." | |
David Edelstein | |
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