|
87%
|
In the House (2013)
|
""In the House" might well be called "In the Story" because that's where it plays out: the house in the story and the story in the house."
|
Jim Emerson
|
|
85%
|
Sightseers (2013)
|
"Lowe and Oram have been living with these characters for years, and it shows. The acting is very funny and well-observed."
|
Sheila O'Malley
|
|
81%
|
Something in the Air (2013)
|
"Fans of Assayas's "Cold Water" and "Summer Hours" will appreciate the fluid camerawork that snakes from room to room in some of the most seductive adolescent party scenes ever committed to film."
|
Jim Emerson
|
|
45%
|
Peeples (2013)
|
"Chism's cast is game for her shenanigans, and the biggest pleasure of "Peeples" is watching them cut loose under her direction."
|
Odie Henderson
|
|
47%
|
The Great Gatsby (2013)
|
"Even when the movie's not working, its style fascinates. That "not working" part is a deal breaker, though ..."
|
Matt Zoller Seitz
|
|
67%
|
The Fox (1967)
|
"A quiet, powerful masterpiece."
|
Roger Ebert
|
|
29%
|
Hurry Sundown (1967)
|
"Otto Preminger's Hurry Sundown is a frustrating case, not good but not particularly bad, with a smokescreen of controversy surrounding it and obscuring its real faults."
|
Roger Ebert
|
|
25%
|
Tell Me That You Love Me, Junie Moon (1970)
|
"It succeeds, among other things, in making human entertainment out of a rather unlikely story."
|
Roger Ebert
|
|
83%
|
What Maisie Knew (2013)
|
""What Maisie Knew" is an indictment of those who do not realize that innocence is not something to be scorned and used, but cherished and protected."
|
Sheila O'Malley
|
|
76%
|
Kon Tiki (2013)
|
"While the wind goes out of its sails a few times along the way, this is a ravishingly photographed, old-fashioned man-against-the-elements adventure epic propelled by human-scaled heroics."
|
Donald Liebenson
|
|
88%
|
Hava Nagila: The Movie (2013)
|
"A slight, but very satisfying, and at times, surprisingly moving, documentary about the inescapable Jewish anthem and wedding and bar mitzvah music staple."
|
Donald Liebenson
|
|
78%
|
Iron Man 3 (2013)
|
"The new film's not great, but it's consistently involving because the tonal shifts are so abrupt."
|
Matt Zoller Seitz
|
|
46%
|
Pain & Gain (2013)
|
"As ambitious and vibrant as it is ugly and scattershot, "Pain & Gain" is the most charming Michael Bay movie in a long while."
|
Simon Abrams
|
|
8%
|
The Big Wedding (2013)
|
"The movie is bland hackwork; its crime isn't incompetence, but indifference."
|
Ignatiy Vishnevetsky
|
|
96%
|
Blancanieves (2013)
|
"It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors."
|
Roger Ebert
|
|
53%
|
The Reluctant Fundamentalist (2013)
|
"As the story unfolds, new dimensions change our perceptions of the central characters, sometimes for better, and occasionally for worse. The point is that every character and every setting has at least two sides."
|
Omer Mozaffar
|
|
98%
|
Mud (2013)
|
"[Nichols] has a rare ability to root his archetypal Southern fables in rich observational detail. They remain tangibly specific but take on the larger resonances of folklore."
|
Jim Emerson
|
|
100%
|
Rio Bravo (1998)
|
"To watch Rio Bravo is to see a master craftsman at work. The film is seamless. There is not a shot that is wrong. It is uncommonly absorbing, and the 141-minute running time flows past like running water."
|
Roger Ebert
|
|
56%
|
Oblivion (2013)
|
"If nothing else, "Oblivion" will go down in film history as the movie where Tom Cruise pilots a white, sperm-shaped craft into a giant space uterus."
|
Ignatiy Vishnevetsky
|
|
87%
|
Deceptive Practice: The Mysteries and Mentors of Ricky Jay (2013)
|
"He always holds a card you don't see."
|
Roger Ebert
|
|
76%
|
It's a Disaster (2013)
|
"The movie's funniest touches are quiet flashes of character, expertly timed and nimbly played by a deft ensemble. "It's a Disaster" is consistently funny, but you wince more often than you laugh out loud."
|
Jim Emerson
|
|
47%
|
The Lords of Salem (2013)
|
"Instead of retreating into his manic, hyper-allusive style of psychedelic, grindhouse-friendly pastiche, Zombie tested his considerable skills and made something different."
|
Simon Abrams
|
|
68%
|
Disconnect (2013)
|
"I believed the lives of these people. I believed they'd do the drastic things they do in the face of crisis. I ached for them when things went terribly wrong and rooted for them when there were glimmers of hope."
|
Richard Roeper
|
|
54%
|
The Company You Keep (2013)
|
"Nearly every scene had me asking questions about what just transpired when I should have been absorbing what was happening next."
|
Richard Roeper
|
|
77%
|
42 (2013)
|
""42" is competent, occasionally rousing and historically respectful - but it rarely rises above standard, old-fashioned biography fare. It's a mostly unexceptional film about an exceptional man."
|
Richard Roeper
|
|
87%
|
Upstream Color (2013)
|
"Here is a movie you haven't seen before. If you think you have, it's probably because you swallowed a white worm that turned you into a pod-person subject to total mind control and now you're having flashbacks."
|
Jim Emerson
|
|
42%
|
To The Wonder (2013)
|
"[Many will] be dissatisfied by a film that would rather evoke than supply. I understand that, and I think Terrence Malick does, too. But here he has attempted to reach more deeply than that: to reach beneath the surface, and find the soul in need."
|
Roger Ebert
|
|
68%
|
Trance (2013)
|
"Viewers who get hung up on story logic - or prefer movies that feature at least one sympathetic character - will spend much of "Trance"'s 101 minutes gritting their teeth."
|
Ignatiy Vishnevetsky
|
|
74%
|
Simon Killer (2013)
|
"A relentless and largely unrewarding descent into an ostensibly personal hell."
|
Simon Abrams
|
|
92%
|
Jurassic Park: An IMAX 3D Experience (2013)
|
"Spielberg has gone on to weightier and more prestigious projects, but this thrill ride is one of his best and a masterpiece of the genre."
|
Nell Minow
|
|
94%
|
Room 237 (2013)
|
"Listening to fanatics go on and on about their fixations can be kind of fun. For a while, at least."
|
Jim Emerson
|
|
87%
|
Upstream Color (2013)
|
"A romance, a thriller, and a science-fiction drama, "Upstream Color" tantalizes viewers with an open-ended narrative about overcoming personal loss."
|
Simon Abrams
|
|
62%
|
Evil Dead (2013)
|
"I'm bored to death and sick to death of movies that seem to have one goal: How can we gross out the audience by torturing nearly every major character in the movie?"
|
Richard Roeper
|
|
81%
|
The Place Beyond The Pines (2013)
|
""The Place Beyond the Pines" earns every second of its 140-minute running time."
|
Richard Roeper
|
|
65%
|
Starbuck (2013)
|
""Starbuck" is one of those high-concept yet formulaic, sitcom-like comedies that gets by on charm and speed."
|
Steven Boone
|
|
16%
|
Temptation (2013)
|
"Tyler Perry's Temptation is an awful, awful film and while it is easy to mock and dismiss, it is also kind of a shame to behold."
|
Peter Sobczynski
|
|
——
|
Warrendale (1967)
|
"It is not "entertaining," but not everyone goes to the movies to be entertained: Sometimes it is enough to see life as it is."
|
Roger Ebert
|
|
86%
|
The Iran Job (2012)
|
"I confess to being a sucker for sports movies, the ones with the "Big Game" at the end. "The Iran Job" has all the requisite elements of that cinematic subgenre, but strives for something deeper."
|
Odie Henderson
|
|
91%
|
Gimme The Loot (2013)
|
"This is a simple, meandering, slice-of-life indie film that feels more authentic than most "gritty" New York films with infinitely larger budgets."
|
Richard Roeper
|
|
70%
|
Wrong (2013)
|
"Composed of skit-like scenes and populated by gimmicky characters, the movie is flimsy, glib, and occasionally pretty funny."
|
Ignatiy Vishnevetsky
|
|
81%
|
From Up On Poppy Hill (2013)
|
"The artistry is peaceful and comforting to the eyes but not especially stirring. Given the pictorial extremes that Studio Ghibli has gone to in the past, "Up on Poppy Hill" is weak tea."
|
Roger Ebert
|
|
81%
|
The Place Beyond The Pines (2013)
|
"An over-stuffed, hyper-pulpy, and mostly trite trifurcated drama about family, crime, and moral ambiguity."
|
Simon Abrams
|
|
9%
|
The Host (2013)
|
""The Host" is top-heavy with profound, sonorous conversations, all tending to sound like farewells."
|
Roger Ebert
|
|
93%
|
The Sapphires (2013)
|
"A very conventional story of a '60s Australian girl group gains extra power from its context and setting in this fact-based story set to the beat of Motown soul."
|
Nell Minow
|
|
28%
|
G.I. Joe: Retaliation (2013)
|
"Like a Dumpster bin behind Tiffany's, this contains nothing but well-packaged garbage."
|
Richard Roeper
|
|
58%
|
At Any Price (2013)
|
"This is a brave, layered film that challenges the wisdom of victory at any price."
|
Roger Ebert
|
|
79%
|
Ginger & Rosa (2013)
|
"The film's tone is wonderfully maintained by Dakota Fanning's younger sister Elle as Ginger, convincingly playing 17 at the age of 13."
|
Roger Ebert
|
|
88%
|
The Angels' Share (2013)
|
"Loach's realism always carries a distinct sense of humor, volatility and, most alarmingly in this hypercapitalist new century, a socialist passion for The People."
|
Steven Boone
|
|
27%
|
Everybody Has a Plan (2013)
|
"Its relaxed air of menace, and occasional bursts of violence hold one's attention even when the plot falters, which is often."
|
Matt Zoller Seitz
|
|
91%
|
Gimme The Loot (2013)
|
"Adam Leon has created something unique and current, with affectionate nods to New York films of the past."
|
Sheila O'Malley
|
47%
45%
95%
99%
65%
61%
