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2.5/4 |
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Blue Crush (2002) |
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"Predictable storyline and by-the-book scripting is all but washed away by sumptuous ocean visuals and the cinematic stylings of director John Stockwell." | |
Jeanne Aufmuth | |
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2/4 |
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Bride of the Wind (2001) |
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"..stumbles under the burden of two-hours of focused, exaggerated emotion..." | |
Jeanne Aufmuth | |
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3.5/4 |
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Closer (2004) |
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"Sexy, deliciously perverse and oozing with immorality." | |
Jeanne Aufmuth | |
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2/4 |
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Daredevil (2003) |
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"Sounds good on flimsy colored paper, but for a comic book adaptation to work onscreen there has to be decent scripting and A-list production values." | |
Jeanne Aufmuth | |
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3/4 |
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Enough (2002) |
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"A glossy female fantasy about losing it all and throwing it right back atcha." | |
Jeanne Aufmuth | |
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2/4 |
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Evergreen (2004) |
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"Rife with clichés and precocious artsy-craft." | |
Jeanne Aufmuth | |
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3/4 |
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The Experiment (2002) |
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"Climax is intentionally, brutally violent, resulting in a bitter, melodramatic aftertaste." | |
Jeanne Aufmuth | |
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10/10 |
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Faithless (2001) |
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"A mesmerizing work, exploring the darkest recesses of the human spirit." | |
Jeanne Aufmuth | |
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3/4 |
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Far From Heaven (2002) |
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"Todd Haynes goes out on a limb to make his point, sometimes in inches but more often miles." | |
Jeanne Aufmuth | |
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4/4 |
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Finding Nemo (2003) |
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"Pixar has interlaced its energetic storyline with the moody strains of a classic Thomas Newman score, lending an element of darkness that ingeniously penetrates the perpetual submarine light." | |
Jeanne Aufmuth | |
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3/4 |
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Hamlet (2000) |
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"Alternately clumsy and clever, it’s nonetheless the new order of Shakespeare." | |
Jeanne Aufmuth | |
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3/4 |
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Heading South (2006) |
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"Director Laurent Cantet dabbles in the waters of change with great subtlety." | |
Jeanne Aufmuth | |
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3/4 |
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Hulk (2003) |
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"Ang Lee’s imprint is on every frame; pulsing with passion and the desire to construct the best product possible." | |
Jeanne Aufmuth | |
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3/4 |
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Interview with the Assassin (2002) |
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"The atmosphere is thick with conspiracy and the potential for danger." | |
Jeanne Aufmuth | |
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3/4 |
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Kill Bill Vol. 1 (2003) |
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"Quentin Tarantino comes out of the box with a vengeance, intent on the idea of parlaying hardcore grind-house into trendy art-house." | |
Jeanne Aufmuth | |
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9/10 |
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Last Resort (2001) |
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"Reads like a perfectly nuanced short story." | |
Jeanne Aufmuth | |
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2/4 |
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The Last Samurai (2003) |
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"A mildly satisfying entertainment many moons shy of potential greatness." | |
Jeanne Aufmuth | |
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4/4 |
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Lost in Translation (2003) |
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"Subtly realized and finely nuanced, this is fresh and unspoiled filmmaking." | |
Jeanne Aufmuth | |
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1.5/4 |
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The Matrix Revolutions (2003) |
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"Only hardcore fans will delight at the surface slick to which the brothers Wachowski have succumbed to conclude their philosophical opus." | |
Jeanne Aufmuth | |
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'3/4' |
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The Memory of a Killer (2005) |
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"Heavily nuanced and weighty with tension." | |
Jeanne Aufmuth | |
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3/4 |
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Men in Black II (2002) |
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"The mark of a respectable summer blockbuster is one of two things: unadulterated thrills or genuine laughs." | |
Jeanne Aufmuth | |
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4/4 |
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Minority Report (2002) |
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"Violent, graphic, and breathtaking in its emotional ugliness, this is a classic, ambitious film that restores diminishing faith in the world's most influential medium." | |
Jeanne Aufmuth | |
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1/4 |
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New Best Friend (2002) |
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"It's impossible to even categorize this as a smutty guilty pleasure." | |
Jeanne Aufmuth | |
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10/10 |
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North by Northwest (1959) |
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"Viewer friendly, refreshingly undated, and worth as many repeat viewings as one can stomach." | |
Jeanne Aufmuth | |
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3.5/4 |
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One Hour Photo (2002) |
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"A finely nuanced character study of insecurity and suppressed malevolence." | |
Jeanne Aufmuth | |
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'3/4' |
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Paradise Now (2005) |
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"Simple, reflective, and uncomfortably relevant." | |
Jeanne Aufmuth | |
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2/4 |
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The Passion of the Christ (2004) |
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"Saturated with vengeance, betrayal, and melodrama, Mel Gibson's sadistic take on Jesus’ final twelve hours screams bloody murder." | |
Jeanne Aufmuth | |
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2/4 |
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Quitting (2002) |
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"The fetid underbelly of fame has never looked uglier." | |
Jeanne Aufmuth | |
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2.5/4 |
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Ray (2004) |
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"Maybe it’s the hype but I’m not feeling the love." | |
Jeanne Aufmuth | |
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3.5/4 |
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Runaway Jury (2003) |
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"A glossy look and a stable of A-list stars elevate this prosaic John Grisham story from movie melodrama to smart mystery thriller." | |
Jeanne Aufmuth | |
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3.5/4 |
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Shrek 2 (2004) |
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"Lampoons a number of fairy-tale conventions but engages in the conflict and warmth of un-enchanted humanity." | |
Jeanne Aufmuth | |
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3/4 |
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Sin City (2005) |
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"Relentless, shocking, and admirably experimental." | |
Jeanne Aufmuth | |
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2/4 |
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The Singing Detective (2003) |
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" Robert Downey, Jr. is the only saving grace of this incoherent crime caper based on the classic British mini-series." | |
Jeanne Aufmuth | |
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1.5/4 |
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Solaris (2002) |
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"A surprisingly dull adaptation of the classic 1961 science-fiction novel by Stanislaw Lem." | |
Jeanne Aufmuth | |
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2/4 |
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Star Wars Episode II: Attack of the Clones (2002) |
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"Millions of dollars heaped upon a project of such vast proportions need to reap more rewards than spiffy bluescreen technique and stylish weaponry." | |
Jeanne Aufmuth | |
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'3/4' |
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Star Wars Episode III: Revenge of the Sith (2005) |
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"Sure to please diehard fans and fringe folk alike." | |
Jeanne Aufmuth | |
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4/4 |
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Touching the Void (2004) |
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"Fraught with tension and nerve-wracking delirium, this innovative documentary is a powerful life-force in the guise of an adventure package." | |
Jeanne Aufmuth | |
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1.5/4 |
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Van Helsing (2004) |
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"Plotless, pointless, horror-fest." | |
Jeanne Aufmuth | |
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'3.5/4' |
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The War Within (2005) |
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"A thought-provoking and mood altering experience." | |
Jeanne Aufmuth | |
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When Brendan Met Trudy (2001) |
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"Charming but awkward ode to the travails along the path to true romance." | |
Jeanne Aufmuth | |
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'1.5/4' |
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Where The Truth Lies (2005) |
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"Has a soft-porn hue that sculpts its narrative into a sordid rainbow of slimy emotion." | |
Jeanne Aufmuth | |
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2/4 |
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World Trade Center (2006) |
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"Oliver Stone's take on one of history's most notorious and devastating days is white-washed with the sentimental veneer of the Lifetime Channel." | |
Jeanne Aufmuth | |
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