|
67%
|
The Fox (1967)
|
"[Dennis] is excellent, though the movie goes sour anyway."
|
|
|
63%
|
The Great Northfield Minnesota Raid (1972)
|
"For all its flaws, The Great Northfield Minnesota Raid is the kind of first movie so rich in texture and invention that we can look forward to a lot more from Philip Kaufman."
|
Jay Cocks
|
|
29%
|
The Great Gatsby (1949)
|
"Unfortunately, the movie version misses many of its opportunities."
|
|
|
29%
|
Hurry Sundown (1967)
|
"Hurry Sundown is a gigantic masquerade in which the participants put on two things: a Southern accent and the audience."
|
|
|
91%
|
Scandal (1989)
|
"Scandal is an express tour of the Profumo affair that moves with a pop historian's revisionist swagger and plays like News of the World headlines set to early '60s rock 'n' roll."
|
Richard Corliss
|
|
46%
|
Agnes of God (2002)
|
"All three stars do smart, honorable work."
|
Richard Corliss
|
|
92%
|
The Landlord (1970)
|
"A glossy, flat, fake Hollywood attempt at black social comedy."
|
|
|
80%
|
Fiddler on the Roof (1971)
|
"The qualities that have kept the Broadway Fiddler running these seven years are in scant supply onscreen."
|
Jay Cocks
|
|
60%
|
Gaily, Gaily ()
|
"The resultant movie, Gaily, Gaily, is a kind of Tom Jones in Chicago, a broad-shouldered knockabout farce that has no business being so comic -- but is hugely funny because of Director Norman Jewison."
|
|
|
84%
|
The Cincinnati Kid (1965)
|
"By the time all the bets are in, Cincinnati Kid appears to hold a losing hand."
|
|
|
0%
|
The Art of Love (1965)
|
"On the back lot at Universal City, Love creates a cardboard Paris and fills it with evidence that 1965 is a dull year abroad."
|
|
|
62%
|
Send Me No Flowers (1964)
|
"At 40, [Day] should maybe stop trying to play Goldilocks."
|
|
|
76%
|
Tommy (1975)
|
"One thing is sure: there has never been a movie musical quite like Tommy, a weird, crazy, wonderfully excessive version of The Who's rock opera."
|
|
|
81%
|
The Killing of a Chinese Bookie (1976)
|
"When Cassavetes is really cooking, even the moments that are awkward and forced can become electric."
|
Jay Cocks
|
|
75%
|
Love Is All You Need (2013)
|
"Dyrholm has an unusual magnetism, the kind of face that seems open and unguarded, yet you can't figure out just what it is she's thinking - she and Brosnan share an excitingly adult chemistry."
|
Mary F. Pols
|
|
83%
|
What Maisie Knew (2013)
|
"Some moviegoers may opt for an easier cinematic pleasure than this carefully crafted, discomforting look at familial misery in hyper drive, but it is the most provocative movie about parenting I've seen since The Kids Are All Right."
|
Mary F. Pols
|
|
67%
|
The Iceman (2013)
|
"Shannon could be looking at an Oscar nomination. His performance is that stone-cold good."
|
Richard Corliss
|
|
95%
|
Hobson's Choice (1953)
|
"Hobson's Choice is a cheerful little slice of death, warmed over and served with some lively comic sauces by Producer-Director David Lean and Actor Charles Laughton."
|
|
|
100%
|
This Happy Breed (1944)
|
"This Happy Breed is Noel Coward's proud and loving tribute to the unbreakable British backbone. "
|
|
|
36%
|
Inside Daisy Clover (1965)
|
"Hollywood self-satire is also a corridor of mirrors where movie makers are apt to start cringing."
|
|
|
78%
|
Iron Man 3 (2013)
|
"Besides rehabbing a hero who overcomes anxiety to save the world and defeat the terror-industrial complex by the simple matter of cloning his body armor, the movie proves that there's still intelligent life on Planet Marvel."
|
Richard Corliss
|
|
98%
|
The Wild Bunch (1969)
|
"The Wild Bunch is Peckinpah's most complex inquiry into the metamorphosis of man into myth. Not incidentally, it is also a raucous, violent, powerful feat of American film making. "
|
|
|
46%
|
Pain & Gain (2013)
|
"It's like a giant sculpture that is so strange and off-putting, it's instantly, intriguingly post-modern. Swept up in the film's pile-driving self-assurance, even Bay-haters may absorb the pain to enjoy the gain."
|
Richard Corliss
|
|
53%
|
The Reluctant Fundamentalist (2013)
|
"A movie imposing in its breadth and depth."
|
Richard and Mary Corliss
|
|
80%
|
Fight Club (1999)
|
"It is working American Beauty-Susan Faludi territory, that illiberal, impious, inarticulate fringe that threatens the smug American center with an anger that cannot explain itself, can act out its frustrations only in inexplicable violence."
|
Richard Schickel
|
|
78%
|
Sin City (2005)
|
"For all its astronomical body count, Sin City is brazenly, thrillingly alive."
|
Richard Corliss
|
|
88%
|
Superman II (1981)
|
"Let's face it, times change, and Superman and friend have sweetly embraced the spirit of the '80s as well as each other."
|
Richard Schickel
|
|
81%
|
Batman Returns (1992)
|
"Burton, once an animator at Disney, understands that to go deeper, you must fly higher, to liberation from plot into poetry. Here he's done it. This Batman soars."
|
Richard Corliss
|
|
92%
|
Jurassic Park: An IMAX 3D Experience (2013)
|
"The 3-D process adds not just dimension but depth - a technological extension of cinematographer Gregg Toland's deep-focus innovations in The Grapes of Wrath and Citizen Kane. The change in perspective creates greater intensity."
|
Richard Corliss
|
|
91%
|
A Woman of Paris (1923)
|
"For some years great groups of the illuminati have been proclaiming Charles S. Chaplin an artist. Yet our good old uncles and funny old aunts, who really knew about custard pies, demurred."
|
|
|
28%
|
G.I. Joe: Retaliation (2013)
|
"Retaliation is less a sequel than an antidote to the calcified mound of crap that ostensibly inspired it."
|
Richard Corliss
|
|
81%
|
The Place Beyond The Pines (2013)
|
"Structured as a triptych, the movie is novelistic, earnest and somewhat exhausting - an ambitious effort that tries to be many things."
|
Mary F. Pols
|
|
94%
|
Room 237 (2013)
|
"Maybe they're all right. Or wrong. It can't be settled. What matters is that people are still crazy about the beauty of a beautiful movie about going crazy."
|
Mary F. Pols
|
|
13%
|
Anthony Adverse (1936)
|
"Readers wondered how those cinemen would succeed in putting the whole story into a single picture. As revealed last week, the answer is extremely simple. Warner Brothers do not succeed in anything of the sort because they do not try."
|
|
|
95%
|
Popiól i diament (Ashes and Diamonds) (1958)
|
"Honest, brutally powerful and often shocking."
|
|
|
83%
|
Performance (1970)
|
"Pop stars continue to have bad luck in films."
|
Jay Cocks
|
|
54%
|
Basic Instinct (1992)
|
"[The film has] a smug faith in the ability of its own speed, smartness and luxe to wow the yokels."
|
Richard Schickel
|
|
72%
|
Dirty Dancing (1987)
|
"If the ending of Eleanor Bergstein's script is too neat and inspirational, the rough energy of the film's song and dance does carry one along, past the whispered doubts of better judgment."
|
Richard Schickel
|
|
30%
|
Flashdance (1983)
|
"Unlike its grittily romantic predecessors, Flashdance is pure glitz."
|
Richard Corliss
|
|
78%
|
F.I.S.T. (1978)
|
"F.I.S.T. stands for nearly 2 1/2 hours of almost unmitigated boredom-a misfired would-be proletarian epic with Sylvester Stallone misplaying the Jimmy Hoffa part with a self-confidence that borders on the sublime."
|
Richard Schickel
|
|
93%
|
Matewan (1987)
|
"In the rich umbers of Haskell Wexler's cinematography, Matewan does look great."
|
Richard Corliss
|
|
69%
|
The Croods (2013)
|
"The family-dramedy genre that the film inhabits demands a bit more narrative ingenuity than is on display."
|
Richard Corliss
|
|
43%
|
Admission (2013)
|
"Another formulaic spin on Hollywood's 21st century discovery, the mom-rom-com, with its disagreeable underlying messages about women, careers and motherhood."
|
Mary F. Pols
|
|
——
|
Ashani Sanket (Distant Thunder) (1973)
|
"A tragedy of such magnitude becomes an event abstracted by arithmetic. But Ray's artistry alters the scale. His concentrating on just a few victims of the famine causes such massive loss to become real, immediate."
|
Jay Cocks
|
|
100%
|
Teen Kanya (Two Daughters) (Three Daughters) (1961)
|
"Two Daughters, a two-part film based on short stories by Rabindranath Tagore, is so filled with the basic stuff of humanity that with minor changes of script it could have been made in rural Louisiana."
|
|
|
29%
|
Upside Down (2013)
|
"Absent any emotional grounding, the film is a gorgeous, sterile construction, like a dream city unoccupied by humans."
|
Richard Corliss
|
|
38%
|
The Incredible Burt Wonderstone (2013)
|
"This may be the kind of semi-bad, semi-inspired comedy that could not only stand repeated viewings but perhaps improve with them."
|
Mary F. Pols
|
|
90%
|
The Magnificent Ambersons (1942)
|
"Ambersons is not another Citizen Kane, but it is good enough to remove Director Welles for keeps from the novice or one-picture-prodigy class."
|
|
|
95%
|
The Stranger (1946)
|
"Adroitly directed by Orson Welles, who also plays the star, it is a grade A gooseflesh-raiser."
|
|
|
75%
|
Journey Into Fear (1943)
|
"Welles shows himself a careful student of Alfred Hitchcock, but he falls far short of the Old Master."
|
|
47%
45%
95%
99%
65%
61%
