|
87%
|
Star Trek Into Darkness (2013)
|
"Giving all impending summer 2013 tentpoles a reason to be intimidated, "Star Trek Into Darkness" should safely reintroduce audiences to just how much fun moviegoing can be."
|
Dustin Putman
|
|
50%
|
The Great Gatsby (2013)
|
"A sensory wonderland both intimate and vast as director Baz Luhrmann creates an immersive onscreen world that, for all of its bold and fancy reimaginings, remains accurate to F. Scott Fitzgerald's sumptuous literary descriptions."
|
Dustin Putman
|
|
78%
|
Iron Man 3 (2013)
|
""Iron Man 3" might not be a total bust, but it does result in one big "meh.""
|
Dustin Putman
|
|
60%
|
The Happy House (2013)
|
""The Happy House" is nothing if not a fresh mixture of colorful characters, questionable manners, and rusty, suddenly-new-again horror conventions."
|
Dustin Putman
|
|
8%
|
The Big Wedding (2013)
|
"Lines such as, "Who do you have to lynch for a Cosmo around here?" pass for a version of humor that only a Mississippi slave owner in 1858 would likely find funny."
|
Dustin Putman
|
|
47%
|
Pain & Gain (2013)
|
"Michael Bay has helmed his most confident, grown-up feature, to date."
|
Dustin Putman
|
|
56%
|
Oblivion (2013)
|
"A ravishing, eye-popping, even groundbreaking science-fiction epic. "Oblivion" impresses again and again on a scale as emotionally intimate as it is physically colossal."
|
Dustin Putman
|
|
47%
|
The Lords of Salem (2013)
|
"Though admirable for moving away from director Rob Zombie's comfort zone by focusing on mood and atmosphere over jump scares and a body count, the viewer walks away feeling the one thing horror should never elicit: indifference."
|
Dustin Putman
|
|
67%
|
Disconnect (2013)
|
"A penetrating examination of who we are as a people and culture living in the advanced electronic age of the here and now—a place as potentially dangerous and harmful as it is radically convenient."
|
Dustin Putman
|
|
4%
|
Scary Movie 5 (2013)
|
"The inexcusably desperate "Scary Movie 5" is this once-prosperous series' death rattle."
|
Dustin Putman
|
|
55%
|
The Company You Keep (2013)
|
"The company isn't the problem in "The Company You Keep." Everything else is."
|
Dustin Putman
|
|
42%
|
To The Wonder (2013)
|
"There is only so much twirling in wheat fields a person can handle before it starts to come off as a mockery of itself."
|
Dustin Putman
|
|
68%
|
Trance (2013)
|
""Breathtaking" is an adjective that should be used sparingly when discussing film, lest the word begin to lose its rightful weight and inference. "Trance" is just that, and then so much more."
|
Dustin Putman
|
|
77%
|
42 (2013)
|
"Falls back too frequently upon manipulation and speech-giving to get its obvious points across."
|
Dustin Putman
|
|
62%
|
Evil Dead (2013)
|
"It might not be "Cabin in the Woods," but this cabin in the woods nevertheless holds a sharp-toothed bite."
|
Dustin Putman
|
|
81%
|
The Place Beyond The Pines (2013)
|
"A little too convenient at sorting out its plot threads, but nevertheless remains a tough, compelling, uncompromising experience."
|
Dustin Putman
|
|
87%
|
Upstream Color (2013)
|
"If writer-director Shane Carruth were to ever find a way to get his audience to feel as well as he gets them to think, he might be truly onto something extraordinary."
|
Dustin Putman
|
|
9%
|
The Host (2013)
|
"An original sci-fi vision from writer-director Andrew Niccol, one that takes chances, falls on its face a time or two, and otherwise works as well as it does because of how brazenly different it dares to be."
|
Dustin Putman
|
|
38%
|
Family Weekend (2013)
|
"Who was "Family Weekend" made for? Beats the hell out of me."
|
Dustin Putman
|
|
28%
|
G.I. Joe: Retaliation (2013)
|
"May have a grittiness to it that its predecessor lacked, but it has corrected absolutely none of its problems."
|
Dustin Putman
|
|
43%
|
Admission (2013)
|
"The romance between Tina Fey and Paul Rudd is by far the most conventional and least interesting thing in the otherwise pleasantly articulate "Admission.""
|
Dustin Putman
|
|
66%
|
Spring Breakers (2013)
|
"As frightening as any conventional horror movie, as cautionary as any crime-drama, and as gritty yet empathetic as any coming-of-age story in quite some time."
|
Dustin Putman
|
|
69%
|
The Croods (2013)
|
""The Croods" is 2013's first major animated tentpole release, and, as such, it will hopefully only be uphill from here."
|
Dustin Putman
|
|
47%
|
Olympus Has Fallen (2013)
|
"Might have been more fun and less offensive had it been made in the 1980s or '90s. In 2013, however, it hits just a little too close to home to be brushed aside as mindless entertainment."
|
Dustin Putman
|
|
40%
|
The Call (2013)
|
"Too good for too long to not be worth recommending, but it's disappointing to see so much potential squandered just for a dishonest twist and some cheap thrills."
|
Dustin Putman
|
|
37%
|
The Incredible Burt Wonderstone (2013)
|
"It is rarer than it may seem for a movie to come along that inspires not only a fairly consistent stream of chuckles, but also a few well-earned guffaws along the way."
|
Dustin Putman
|
|
67%
|
Stoker (2013)
|
"Old-fashioned and not entirely unexpected, the film doesn't work very well as a mystery, but garners a creeping intrigue all the same as the many faces of teenaged protagonist India Stoker are revealed."
|
Dustin Putman
|
|
29%
|
Upside Down (2013)
|
"An imperfect but perfectly gorgeous experience, a motion picture of quite literal cosmic enlightenment with the creativity and gall to put most run-of-the-mill movie releases to shame."
|
Dustin Putman
|
|
36%
|
Dead Man Down (2013)
|
"Colin Farrell and Noomi Rapace are a pairing made in Hollywood heaven. It's too bad "Dead Man Down" can't quite pull itself out of purgatory."
|
Dustin Putman
|
|
60%
|
Oz the Great and Powerful (2013)
|
"An inventive and stirring fantasy. Chances are very good that L. Frank Baum would be immensely pleased."
|
Dustin Putman
|
|
27%
|
21 And Over (2013)
|
"There is some immature amusement to be had by "21 & Over," the occasional clever line of dialogue or quirky situation, but then there's the majority of time spent wallowing in stereotypes, mixed messaging, and overbearing racial insensitivity."
|
Dustin Putman
|
|
13%
|
The Last Exorcism Part II (2013)
|
"Regrettably, the film isn't much more than a series of moments, eventually becoming tedious before the 88-minute running time is up. It all feels very much tacked-on."
|
Dustin Putman
|
|
52%
|
Jack the Giant Slayer (2013)
|
"Topped by a clever little zinger of a last scene, the film ends up being a fun action romp after all—and, again, that's in spite of the fantastical creatures of the title falling flat."
|
Dustin Putman
|
|
35%
|
Dark Skies (2013)
|
"An intensely evocative, absolutely spine-tingling thriller that paints an empathetic portrait of realistically strained modern-day suburban domesticity before little by little introducing a rasping pall of doom."
|
Dustin Putman
|
|
58%
|
Snitch (2013)
|
"There is little room for denial that "Snitch" means well, but there also isn't anything to give it those extra shots of immediacy, grit and verve it so desperately needs."
|
Dustin Putman
|
|
13%
|
Safe Haven (2013)
|
"Sure, it's occasionally loopy, but also thoroughly suspenseful in spots and rather pleasant as a whole."
|
Dustin Putman
|
|
15%
|
A Good Day To Die Hard (2013)
|
"This 97-minute piffle may run a full half-hour shorter than its predecessors, but it is so dull and lacking in creativity and tension that it feels like the longest one."
|
Dustin Putman
|
|
45%
|
Beautiful Creatures (2013)
|
"Not romantic enough to make the viewer gush and not imaginative enough to work as pure fantasy, the film falls into a mediocre rut that it doesn't pull out of."
|
Dustin Putman
|
|
56%
|
Would You Rather (2013)
|
"February or not, "Would You Rather" is an instant contender for feel-bad movie of the year, but please do not read this as a criticism."
|
Dustin Putman
|
|
85%
|
Side Effects (2013)
|
"Beginning as an urgent indictment and culminating in a silly, sudsy about-face that means very little and is sure to produce groans, the film betrays and cheats itself out of a point."
|
Dustin Putman
|
|
20%
|
Identity Thief (2013)
|
"For all of its extraneous subplots and contrived scripting [the film's] got one decidedly potent weapon in the form of the fearless dynamo Melissa McCarthy."
|
Dustin Putman
|
|
39%
|
The ABCs of Death (2013)
|
"The end of life really ought not to be treated as such an immature lark."
|
Dustin Putman
|
|
47%
|
Bullet to the Head (2013)
|
"It exists in a land of middle-of-the-roadness, one that does nothing spectacularly, but can be admired for staying as uncompromising as it is."
|
Dustin Putman
|
|
80%
|
Warm Bodies (2013)
|
"It's so thrilling when all the elements of a film come together just right. Chill-inducing cadavers be damned, "Warm Bodies" is sheer bliss."
|
Dustin Putman
|
|
4%
|
Movie 43 (2013)
|
"The only thing worse than a comedy missing a punchline is a comedy of shorts missing eleven separate punchlines."
|
Dustin Putman
|
|
14%
|
Hansel and Gretel: Witch Hunters (2013)
|
"Expends its standout moments by the ten-minute mark and can never quite capture the same palpable danger, atmosphere, and imagination again. What follows isn't bad so much as it is uninspired."
|
Dustin Putman
|
|
30%
|
Broken City (2013)
|
""Broken City" at least stays true to its title: this is one crooked metropolis beyond repair."
|
Dustin Putman
|
|
65%
|
Mama (2013)
|
"A beautifully macabre fairy tale. "Mama" is an early-in-the-year scream, and deliciously so."
|
Dustin Putman
|
|
59%
|
The Last Stand (2013)
|
"To call the ho-hum and inconsequential "The Last Stand" a B-movie is to give it too much credit; only on rare occasions does it deserve even a C."
|
Dustin Putman
|
|
79%
|
Ginger & Rosa (2013)
|
"Elle Fanning gives it her all, but is deserving of a better showcase than "Ginger & Rosa" offers her."
|
Dustin Putman
|
87%
22%
90%
