Adam Mars-Jones

Adam Mars-Jones
Adam Mars-Jones's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Guardian Independent (UK)
Publications: Guardian, Independent (UK)

movie Reviews Only

T-Meter Title | Year Review
48% The First Wives Club (1996) It's not much more than a variation on Nine to Five, with the object of revenge switched from a single boss to multiple husbands. - Independent (UK) EDIT
Read More | Posted Jan 8, 2019
90% Cinema Paradiso (Nuovo Cinema Paradiso) (1988) [Salvatore Cascio's] adorabilty-quotient can be a bit hard to take, but this is one of the better pieces of screen moppetry in recent years. - Independent (UK) EDIT
Read More | Posted Dec 6, 2018
29% The Meteor Man (1993) There is a pleasing off-kilter balance to the view of his world, where the good guys have all the best lines, but the baddies have a monopoly on dress sense. - Independent (UK) EDIT
Read More | Posted Dec 6, 2018
43% Robin Hood: Men in Tights (1993) Supposedly it took Tracey Ullman five hours to get into make-up for her role as the king's cook, Latrine. She could have written a better script in a single session while her wrinkles hardened and they built up her nose. - Independent (UK) EDIT
Read More | Posted Dec 6, 2018
84% The English Patient (1996) Relentlessly beautiful, but not quite stupifyingly so - Independent (UK) EDIT
Read More | Posted Mar 1, 2018
77% Braveheart (1995) In the absence of satisfying moral dilemmas, Braveheart is an action film with an unhappy ending rather than the tragedy it would like to be. - Independent (UK) EDIT
Read More | Posted Mar 1, 2018
96% One False Move (1992) Franklin seizes the opportunity to make a film that tightly binds up any political concerns it may have into the plot. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
52% Stealing Beauty (1996) Unusually for Bertolucci, the film is an ensemble piece, with great glancing richness of detail conveyed by a wonderful cast. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
56% The Hudsucker Proxy (1994) It is possible to create something emotionally true out of second-hand ingredients, in fact that's what Hollywood does, but it isn't the Coen Brothers' strong point. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
100% La Haine (1996) La Haine makes no bones about being anti-police, but Kassovitz's screenplay leaves plenty of room for nuance. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
48% Far and Away (1992) Ron Howard comes up with his own little creation myth for America, free of such inconvenient original sins as genocide and slavery. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
90% Much Ado About Nothing (1993) Emma Thompson is normally a very reliable performer on screen, but Beatrice is not one of her successes. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
93% Husbands and Wives (1992) In a sense, Woody Allen lets himself off the hook by having his character hold back from adultery, and even seem the victim of Mia Farrow's character. But this is not a smug movie, and much the better for it. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
75% Grace of My Heart (1996) Edna Buxton... really wants to do is sing her own material, but there's no market for that in 1959. If her character were a song, you'd want her key changes to be less abrupt -- there's not much modulation. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
69% Shallow Grave (1995) The violence in the film, in particular, is briskly and harshly managed, without either half-heartedness or gloating. But a little further along, cogency starts falling apart for good. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
75% Mad Dog and Glory (1993) These are all talented people, but on this project they seem oddly divided, within themselves as well as from each other. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
95% Secrets & Lies (1997) Secrets and Lies is a beautifully constructed sentimental melodrama, with none of the rough edges that Mike Leigh has insisted on in the past. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
67% FernGully - The Last Rainforest (1992) Children would learn more about natural processes from five minutes of any David Attenborough film than they could from all of FernGully. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
73% Patriot Games (1992) It flounders from one absurdity to another, with results that are hilarious when they aren't insulting. There is as much political realism in the film as there is in Naked Gun 2 1/2, except that in Patriot Games it matters. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
72% Bram Stoker's Dracula (1992) James Hart's screenplay may put Bram Stoker's name up there in the title, but there's no certainty that the author would recognise the result. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
94% L'année dernière à Marienbad (Last Year at Marienbad) (1961) The visual moments that remain in the mind are without exception locked into place by the intensity of the score. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
80% A River Runs Through It (1992) Redford remains a fine director of actors. With Brad Pitt, who gives a particularly good performance, he is dealing moreover with an actor whose handsomeness is reminiscent of his own at that age. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
33% Wuthering Heights (1992) Ralph Fiennes makes a demonic Heathcliff, his startlingly blue eyes the only concession to a matinee audience. This performance reminds us that early reviewers of the book were not wrong, when they wondered at the morbidity of its romanticism. - Independent (UK) EDIT
Read More | Posted Nov 15, 2017
77% Into the West (1993) There must have been oofle-dust around in sackfuls to persuade Barkin to lend her aura to a project that asks so little of her. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
93% Fargo (1996) In effect, the Coens have written an action film that disregards the basic principle of the genre: that character is expressed in action. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
81% Go Fish (1995) Rose Troche is credited as the film's director, co- writer, co-producer and editor, and it is in the last category that so far she shows most accomplishment. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
66% Maverick (1994) The script is notionally based on the old television series of the same name, but the screenwriter William Goldman, has produced something depressingly up to date in its incoherence, its crisis of confidence served up with a sickly grin. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
60% Wolf (1994) The film isn't a waste of time, and works rather well for about two- thirds of its length as a comedy of business life. For a horror film or a serious exploration of the divided nature of modern man, you need to look elsewhere. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
No Score Yet The Secret Rapture (1993) Hare's language isn't unduly concentrated or poetic for the theatre, but on screen it cries out for naturalistic dilution to disguise its purposefulness -- the way characters expose their conflict with no loss of time. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
63% Grumpy Old Men (1993) In their prime, the by-play of these two (Lemmon and Matthau) was like an entertainingly bad marriage, but time has made their antagonism seem perfunctory, and the rapport that underlies it somehow smug. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
54% Hoffa (1992) Hoffa, with its jaundiced script and a director wedded to his rose-tinted spectacles, is a mess, with only the sterling truculence of Nicholson's performance to mitigate it. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
73% Madame Bovary (1991) Part of the problem is that the book is full of somehow lacerating details, which a loving director must reproduce but can't help transforming into their opposites: there's no such thing as a dull antique. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
24% Passenger 57 (1992) The film that Passenger 57 would like to be when it grows up is Die Hard, not most people's idea of a grown-up film in the first place. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
91% Jurassic Park (1993) An economic necessity of securing a PG certificate for what is essentially a horror film has been allowed to intervene in the story-telling, so that the tone is constantly disrupted by an incongruous reassurance. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
62% Sommersby (1993) His (Amiel's) direction is full-blooded and unafraid of sentiment, but he reins in the film's epic possibilities, which could easily have bogged things down. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
36% Last Action Hero (1993) The director has to boost the realism of his staging in a rather self-defeating manner. It begins to look, not that he's having it both ways, trading on what he mocks, but that he has painted himself into a corner. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
98% Three Colors: Blue (Trois Couleurs: Bleu) (1993) Most viewers of Three Colours Blue will be too busy trying to follow the plot, slight as it is, to feel they are grappling in any way with the heritage of the French Revolution. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
No Score Yet Tango (1993) The trouble with Tango is not that it is shocking but that it is shockingly derivative. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
67% Storyville (1992) The plot is pretty creaky, but you can love a plot, as you can love a house, for its creaks, and there are passages in Storyville where Frost's footwork is accomplished enough for him to get past the dodgiest step without a sound. - Independent (UK) EDIT
Read More | Posted Nov 14, 2017
14% Feeling Minnesota (1996) Keanu Reeves does his usual impression of a man trying to get to grips with some really difficult arithmetic. Like him, the movie is dim-witted, bland to the taste and, all in all, rather a waste of space. - Independent (UK) EDIT
Read More | Posted Nov 13, 2017
83% A Chinese Ghost Story (1997) Its Western influences -- The Evil Dead, A Nightmare on Elm Street -- are obvious, but its ingenuity and effervescent humour are all its own. - Independent (UK) EDIT
Read More | Posted Nov 13, 2017
75% El Día de la bestia (The Day of the Beast) (1999) At two hours, the gore is thick but the fun is spread thin. Gallows humour is the order of the day, though nobody seems to have realised that black comedy is still required to be funny. - Independent (UK) EDIT
Read More | Posted Nov 13, 2017
No Score Yet The Last of the High Kings (1998) What saves the film is the director David Keating's light tone -- he seems to be both indulging his audience's nostalgia and gently mocking it. - Independent (UK) EDIT
Read More | Posted Nov 13, 2017
96% GoodFellas (1990) Robert De Niro is reliably dynamic, and Joe Pesci's portrait of a gangster with a sense of humour is hideously memorable, but there's no doubt that GoodFellas fights a losing battle against numbness. - Independent (UK) EDIT
Read More | Posted Nov 13, 2017
88% Naked (1993) It would be hard to imagine a film much sourer than Naked, but sourness is not a fault, merely a characteristic. Hollowness, now, self-indulgence, a sort of gloating emotional ugliness -- those are faults. - Independent (UK) EDIT
Read More | Posted Mar 4, 2015
72% Forrest Gump (1994) Forrest Gump is a schmaltz-Zelig, a Being There engineered from the genetic material of a Hallmark card. - Independent (UK) EDIT
Read More | Posted Jan 7, 2014
97% Schindler's List (1993) Authentic intensity, emotionalism and botch: the first two marry unexpectedly well, and the third element is by far the smallest, but it is there, and it means that the film is less than the touted breakthrough for the cinema. - Independent (UK) EDIT
Read More | Posted Mar 5, 2013
45% The Portrait of a Lady (1996) Campion has a gift for lightly accenting a moment or image so that it stands out from the even re-creation of period... What she can't quite do in film language is approximate to the grand hesitations of James's style, its huge suspensions of resolution. - Independent (UK) EDIT
Read More | Posted Sep 7, 2011