|
64%
|
You Won't Miss Me (2010)
|
"A work that radiates a boozy, Bukowski-esque downward spiral, all alcohol-fueled anger and aimless sadness."
|
Nick Schager
|
|
91%
|
Dracula (1931)
|
"Classic Horror meets DVD"
|
Joshua Vasquez
|
|
60%
|
Year of the Dragon (1985)
|
|
Chuck Rudolph
|
|
83%
|
What's Up, Tiger Lily? (1966)
|
|
Chuck Rudolph
|
|
90%
|
Three Colors: White (Trzy kolory: Bialy) (Trois Couleurs: Blanc) (1994)
|
|
Chuck Rudolph
|
|
95%
|
The Gods Must Be Crazy (1980)
|
|
Chuck Rudolph
|
|
74%
|
Julia (1987)
|
|
Joe McGovern
|
|
60%
|
Soul in the Hole (1997)
|
|
Chuck Rudolph
|
|
100%
|
Laura (2005)
|
|
Chuck Rudolph
|
|
63%
|
Executive Decision (1995)
|
|
Chuck Rudolph
|
|
67%
|
Alligator (1980)
|
|
Chuck Rudolph
|
|
86%
|
Dead Alive (Braindead) (1993)
|
|
Chuck Rudolph
|
|
77%
|
Dead Men Don't Wear Plaid (1982)
|
|
Chuck Rudolph
|
|
80%
|
Marnie (2000)
|
|
Chuck Rudolph
|
|
49%
|
Kids (1995)
|
|
Chuck Rudolph
|
|
100%
|
Roma, città aperta (Open City) (1946)
|
|
Chuck Rudolph
|
|
96%
|
Hotaru no haka (Grave of the Fireflies) (1988)
|
|
Chuck Rudolph
|
|
56%
|
Single White Female (1992)
|
|
Chuck Rudolph
|
|
88%
|
The Color Purple (1985)
|
|
Chuck Rudolph
|
|
79%
|
The Thing (1982)
|
"A bit too heavy on the shock effects, but far scarier than most average horror films."
|
Chuck Rudolph
|
|
75%
|
Dersu Uzala (1975)
|
"Beautifully photographed but far too isolated in its characterizations."
|
Chuck Rudolph
|
|
76%
|
Frida (2002)
|
"Just as in Kahlo's life, Rivera is the commanding centrifugal force of Taymor's film, and remains the best reason to sit through the otherwise uneven, mildly captivating Frida."
|
Nick Schager
|
|
70%
|
White Oleander (2002)
|
|
Nick Schager
|
|
89%
|
Far From Heaven (2003)
|
"Haynes uses the antiquated style without winking, and begs questions of whether a modern filmmaker can actually recreate Sirk without reinventing it in the process. Fused through Haynes's modern sensibility it becomes something Other."
|
Jeremiah Kipp
|
|
48%
|
Femme Fatale (2002)
|
"De Palma's radical script-flip [of the genre] is a healthy indication of film culture rejecting the stupidity of crime movie violence and, with it, the failure of the imagination."
|
Jeremiah Kipp
|
|
77%
|
The Dangerous Lives of Altar Boys (2002)
|
"Even though it is infused with the sensibility of a video director, it doesn't make for completely empty entertainment"
|
Jason Clark
|
|
89%
|
Spider-Man (2002)
|
"All the dough in the world doesn't disguise hollow, simplistic storytelling"
|
Jason Clark
|
|
53%
|
Welcome to Collinwood (2002)
|
"The kind of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly executed idea."
|
Nick Schager
|
|
22%
|
The Tuxedo (2002)
|
"With a story that would be right at home in a lame-brained Rob Schneider comedy, the film seems to have been spit out by some sort of devious Hollywood assembly line."
|
Nick Schager
|
|
68%
|
Red Dragon (2002)
|
"A tepid mishmash of directorial blandness, bad casting, and hoary serial killer clichés that exudes neither the clinical creepiness of Jonathan Demme's original Lecter masterpiece nor the lurid camp of Ridley Scott's disastrous sequel."
|
Nick Schager
|
|
54%
|
The Transporter (2002)
|
"It's the kind of film where the villain even gives an evil look for his passport photo. How can you resist that?"
|
Joshua Vasquez
|
|
83%
|
All or Nothing (2002)
|
"The Southeast London working class housing estate of Mike Leigh's All or Nothing becomes a melting pot for issues that this most humanistic of directors has continually returned to over the years: parents, children, secrets, love, resentment..."
|
Jeremiah Kipp
|
|
90%
|
Saturday Night Fever (1977)
|
"it's one of the best films ever made about disaffected youth and the pains of discovering your place in society"
|
Jason Clark
|
|
91%
|
Y Tu Mamá También (2001)
|
"Oft-described as the antidote to American Pie-type sex comedies, it actually has a bundle in common with them, as the film diffuses every opportunity for a breakthrough"
|
Jason Clark
|
|
68%
|
Gremlins 2: The New Batch (1990)
|
"Deliriously satirizes every facet of contemporary pop culture while also blasting away with a smart and rowdy imagination of its own."
|
Joe McGovern
|
|
83%
|
Gremlins (1984)
|
"A ringing reminder of Joe Dante's unerring wit and cinematic significance."
|
Joe McGovern
|
|
30%
|
Scooby-Doo (2002)
|
"This is the kind of woeful trash heap where you have to say that the best thing about it is Matthew Lillard"
|
Jason Clark
|
|
43%
|
The Rules of Attraction (2002)
|
"Mean spirited, mocking, and puerile. Roger Avery adapts Bret Easton Ellis's nasty college collage of self-absorbed trust fund drones. Imagine an '80s slasher flick where the masked killer never shows up"
|
Jeremiah Kipp
|
|
64%
|
Below (2002)
|
"...has freaky scenes where the crew wonder if they're ghosts imagining themselves as alive. It's a sly wink to The Others without becoming a postmodern joke, made creepy by its "men in a sardine can" warped logic."
|
Jeremiah Kipp
|
|
79%
|
Punch-Drunk Love (2002)
|
"The kind of brain fart a young and creatively impotent hothead thinks up when what he really wants to do isn't coming to him."
|
Chuck Rudolph
|
|
95%
|
Monsoon Wedding (2002)
|
"Anglosized Indian director Mira Nair pilfers every lame ceremonial cliché through the ages."
|
Joe McGovern
|
|
47%
|
The Banger Sisters (2002)
|
"A middling, overly predictable comedy."
|
Nick Schager
|
|
37%
|
Sweet Home Alabama (2002)
|
"Here is a movie that asks us to adore a miserable young woman who wrecks lives, treats people like discarded Biore strips and embodies the absolute worst side of metropolitan arrogance"
|
Jason Clark
|
|
71%
|
10 (1979)
|
|
Joe McGovern
|
|
79%
|
8 Women (8 Femmes) (2002)
|
"Beautifully constructed, unexpectedly touching, and gorgeous to behold, it's a swirling kaleidoscope of murder, intrigue, and musical numbers that cinematic bon vivants will eagerly devour."
|
Nick Schager
|
|
63%
|
Unknown Pleasures (2003)
|
"As fascinating as some of the individual scenes and shots are, they never connect into a formative whole."
|
Chuck Rudolph
|
|
51%
|
The Man from Elysian Fields (2001)
|
"If The Man from Elysian Fields is doomed by its smallness, it is also elevated by it--the kind of movie that you enjoy more because you're one of the lucky few who sought it out."
|
Chuck Rudolph
|
|
63%
|
Moonlight Mile (2002)
|
"Cranks up the oldies soundtrack and embraces narrative contrivance like there will be no tomorrow, as if the concept of death is nothing more than a feel-good exercise in smiley primetime enlightenment."
|
Chuck Rudolph
|
|
92%
|
Bloody Sunday (2002)
|
"An authentically vague, but ultimately purposeless, study in total pandemonium."
|
Chuck Rudolph
|
|
59%
|
Skins (2002)
|
"It's another video movie photographed like a film, with the bad lighting that's often written off as indie film naturalism."
|
Jeremiah Kipp
|
87%
22%
90%
