|
65%
|
Greetings From Tim Buckley (2013)
|
"In paying homage to two iconic performers, he's given a former small-screen star the chance to announce his own cinematic arrival."
|
Elizabeth Weitzman
|
|
51%
|
Post Tenebras Lux (2013)
|
"Regadas overdoes everything in a self-indulgent presentation of trite fantasies masked as memories."
|
Elizabeth Weitzman
|
|
73%
|
Dead Man's Burden (2013)
|
"Despite visual nods to dozens of classic Westerns, the film cannot break through with its own vision."
|
Miriam Bale
|
|
0%
|
Once Upon a Time in Brooklyn (2013)
|
"Cathy Moriarty and other Scorsese alums pop up, but these mean streets feel too derivative to thrill."
|
Joe Neumaier
|
|
18%
|
1st Night (2013)
|
"The movie may appeal to theater aficionados and Juilliard undergrads, but to the average moviegoer, it's a trudge."
|
Joe Neumaier
|
|
0%
|
Generation Um... (2013)
|
""Um" winds up as empty as its mean streets are phony."
|
Joe Neumaier
|
|
81%
|
Something in the Air (2013)
|
"Assayas looks back on youth with both the generous affection and wry clarity of adulthood."
|
Elizabeth Weitzman
|
|
67%
|
The Iceman (2013)
|
"Michael Shannon moves through "The Iceman" like a shark."
|
Joe Neumaier
|
|
75%
|
Love Is All You Need (2013)
|
"Bier and Jensen have relied so heavily on clichés that their effort can't compare even to the formulaic movies they're trying to emulate."
|
Elizabeth Weitzman
|
|
18%
|
Aroused (2013)
|
"Director Deborah Anderson ... turns a welcome opportunity into a shameless example of exploitation and self-promotion."
|
Elizabeth Weitzman
|
|
47%
|
Scatter My Ashes At Bergdorf's (2013)
|
"This glossy doc is indisputably attractive, with lots of famous faces, amusing stories and stunning clothes to admire."
|
Elizabeth Weitzman
|
|
78%
|
Iron Man 3 (2013)
|
"It sharply fuses the humor and heart of the earlier films with a satisfyingly heavy-metal strength - and a darkness that's more than earned."
|
Joe Neumaier
|
|
65%
|
Greetings From Tim Buckley (2013)
|
"For all [Badgley's] efforts, the movie itself ends up little more than an exploitation item, a sad place-holder until the real thing comes along."
|
Jim Farber
|
|
44%
|
Midnight's Children (2013)
|
"The cinematography is memorably vibrant, and the performances are solid, even if they pass by too swiftly. Most of all, of course, the subject matter remains fascinating."
|
Elizabeth Weitzman
|
|
93%
|
Sun Don't Shine (2013)
|
"[Audley's] richly textured debut is assured in every choice, from first frame to last."
|
Miriam Bale
|
|
46%
|
Pain & Gain (2013)
|
"Wahlberg and Johnson are the saving graces of an in-your-face movie about weightlifters who kidnap, extort and dismember their victims."
|
Joe Neumaier
|
|
8%
|
The Big Wedding (2013)
|
"Movie-family weddings are like real ones. Some faces are welcome, some you dread and others have had work done. But they all get tiresome quickly."
|
Joe Neumaier
|
|
79%
|
An Oversimplification Of Her Beauty (2013)
|
"This musical, elliptical, personal, poetical, sensual indie produced by Jay-Z has a seductive DIY feel and a lineage that's part early Spike Lee and late Charles Bukowski."
|
Joe Neumaier
|
|
76%
|
Kon Tiki (2013)
|
"The top-notch adventure tale "Kon-Tiki" is an old-fashioned entertainment, complete with a lead who physically recalls Peter O'Toole in "Lawrence of Arabia.""
|
Joe Neumaier
|
|
58%
|
At Any Price (2013)
|
"Easy resolutions compete with preposterous melodrama."
|
Elizabeth Weitzman
|
|
33%
|
The Numbers Station (2013)
|
"Akerman does work hard to keep up the energy level. Cusack, though, seems bored by the superficial proceedings, which don't even offer the distraction of a real romantic connection or a suspenseful confrontation."
|
Elizabeth Weitzman
|
|
53%
|
The Reluctant Fundamentalist (2013)
|
"Ahmed keeps bringing the focus back to an intriguingly ambiguous center. His scenes with Schreiber have a crackling tension, and he pushes back against the script's obvious manipulations."
|
Elizabeth Weitzman
|
|
87%
|
Deceptive Practice: The Mysteries and Mentors of Ricky Jay (2013)
|
"To be able to find, nurture and share one's passion with such unceasing enthusiasm is surely the essence of magic itself."
|
Elizabeth Weitzman
|
|
47%
|
The Lords of Salem (2013)
|
"Atmosphere is three-fourths of the game in a horror film, and "The Lords of Salem" has it in spades."
|
Joe Neumaier
|
|
87%
|
In the House (2013)
|
"Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they're both so committed to seducing their audience, it's a lot of fun watching them try."
|
Elizabeth Weitzman
|
|
90%
|
Ain't In It For My Health: A Film About Levon Helm (2013)
|
"Director Jacob Hatley clearly earned the complete trust of Helm's inner circle, enough to capture the icon's crusty humor, singular talent and significant bravery in the face of his fate."
|
Jim Farber
|
|
56%
|
Oblivion (2013)
|
"As its palpable sense of dread -- well-sustained in a gently cascading first hour -- gives way to dead ends, this Omega Movie shoots itself in the foot."
|
Joe Neumaier
|
|
81%
|
Oldboy (2005)
|
"Both brutal and lyrical, writer-director Park Chan-wook's existential nail-biter has torture scenes that will have you avoiding dentists, sushi bars and badly appointed hotel rooms."
|
Jami Bernard
|
|
4%
|
Scary Movie 5 (2013)
|
"Like so much of this whole series, the mere mention of a familiar pop culture figure or title is supposed to be hilarious."
|
Joe Neumaier
|
|
76%
|
It's a Disaster (2013)
|
"Berger's got some clever ideas, but he does not push far in exploring them. And aside from Cross, there is virtually no one to like among these self-involved suburbanites."
|
Elizabeth Weitzman
|
|
42%
|
To The Wonder (2013)
|
"It feels like a high-end perfume ad."
|
Joe Neumaier
|
|
88%
|
The Angels' Share (2013)
|
"While there's no ignoring the social ills that haunt Robbie's hopes, the movie's optimism serves as a cheeky, and surprisingly inspiring, retort."
|
Elizabeth Weitzman
|
|
60%
|
American Meat (2013)
|
"The problem is that this rah-rah chronicle never addresses the dangerous, distressing disparity between non-organic farms, which are still the norm, and the ones focused on here."
|
Joe Neumaier
|
|
68%
|
Disconnect (2013)
|
"[An] unsubtle but unsettling assessment of contemporary technology."
|
Elizabeth Weitzman
|
|
77%
|
42 (2013)
|
"It's a sports film nonsports fans can love; it's a family film that never preaches; it's a biopic that also takes in the world and people around its subject."
|
Joe Neumaier
|
|
74%
|
Simon Killer (2013)
|
"Sort of "An American Psycho's European Vacation," this indie dramatic thriller mixes sex and violence and still winds up dull."
|
Joe Neumaier
|
|
87%
|
Upstream Color (2013)
|
""Upstream Color" is weird, but it's worth the time."
|
Joe Neumaier
|
|
62%
|
Evil Dead (2013)
|
"Alvarez is primarily interested in upping his corpse count, in the most gruesome ways imaginable. In this, he is undeniably successful. He also establishes an effectively breathless pace, and weaves in a steady stream of fan-friendly references."
|
Elizabeth Weitzman
|
|
27%
|
The Brass Teapot (2013)
|
"There's not much depth to Mosley's debut, which is based on a short story by Tim Macy. But Michael Angarano and Juno Temple are an appealing pair as John and Alice, struggling suburbanites."
|
Elizabeth Weitzman
|
|
55%
|
Down the Shore (2013)
|
"Costa brings a nice, lived-in sexiness to the evocatively shot setting, and Gandolfini settles into his character with extraordinary skill and sensitivity."
|
Elizabeth Weitzman
|
|
4%
|
6 Souls (2013)
|
"What unholy spirit could have possessed Julianne Moore when she signed on for the sort of throwaway horror flick that would normally star unknowns and go straight to DVD?"
|
Elizabeth Weitzman
|
|
54%
|
The Company You Keep (2013)
|
"Though consistently engaging, Redford's latest directorial endeavor does feel like a plea. You can almost hear him coaxing us to learn from the past, even as we rush into the future."
|
Elizabeth Weitzman
|
|
68%
|
Trance (2013)
|
"A frisky, feisty heist flick with brains and charisma, the movie may make a few errors, but they're forgotten in the blink of an eye thanks to all the twists, turns and close shaves."
|
Joe Neumaier
|
|
16%
|
Temptation (2013)
|
"The mixed tones don't quite meld; While Smollet-Bell is fine, the broad comedy is so sporadic it feels out of place."
|
Miriam Bale
|
|
38%
|
Family Weekend (2013)
|
"There's no overcoming the poorly conceived premise of Benjamin Epps' debut comedy. But a strong start and solid cast take it further than one might expect."
|
Elizabeth Weitzman
|
|
81%
|
Renoir (2013)
|
"Breathtakingly lush, lingering on subtle textures."
|
Miriam Bale
|
|
9%
|
The Host (2013)
|
"We're treated to the bizarre spectacle of Ronan arguing with herself repeatedly over which guy to kiss. But since both are similarly bland, it barely matters."
|
Elizabeth Weitzman
|
|
81%
|
The Place Beyond The Pines (2013)
|
"This emotionally ambitious mess has faults to spare, but there's also something fuzzily honest about it."
|
Joe Neumaier
|
|
28%
|
G.I. Joe: Retaliation (2013)
|
"The G.I. Joe team is back, and most of their sophomore movie adventure, G.I. Joe Retaliation, is as bland as their name and as subtle as an exploding tank."
|
Joe Neumaier
|
|
91%
|
Gimme The Loot (2013)
|
"Director Adam Leon, 31, has slyly and reverentially crafted a perfect New York movie, including the class tensions, relentless hustling and spontaneous connections that best define the exuberant strain of the city."
|
Miriam Bale
|
45%
45%
95%
99%
65%
61%
