Erica Abeel Movie Reviews & Previews - Rotten Tomatoes

Erica Abeel

Erica Abeel
Erica Abeel's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Journal International, Hollywood Reporter

Movie Reviews Only

Rating T-Meter Title | Year Review
50% Code 46 (2004) Cuts it as thinking man's sci-fi, and marks another stretch for the ever-fertile Winterbottom.‐ Film Journal International
Read More | Posted Aug 8, 2004
90% I'm Not Scared (Io non ho paura) (2003) Offers a startling mix of genres: a memory piece drenched in nostalgia for a lost childhood, clothed in the form of a thriller that grabs you by the throat.‐ Film Journal International
Read More | Posted Mar 16, 2004
61% The Dreamers (2004) Like few filmmakers, Bertolucci captures ... the sexual delirium of youth.‐ Film Journal International
Read More | Posted Feb 7, 2004
90% Good Bye, Lenin! (2004) The film's take on filial love is fresh and affecting. Its political savvy yields sharp insights.‐ Film Journal International
Read More | Posted Jan 17, 2004
71% Cold Mountain (2003) Despite its surface allure and hi-lit cred, the hero remains opaque, the structure is episodic, and the film never quite attains the epic sweep it aspires to.‐ Film Journal International
Read More | Posted Dec 23, 2003
88% Uzak (Distant) (2004) Once you downshift to the film's dreamy rhythms, this multiple prize-winner at Cannes and entry in the 2003 New York Film Festival offers modest rewards.‐ Film Journal International
Read More | Posted Dec 20, 2003
98% Since Otar Left (2004) Through its powerful emotions coupled with exquisite restraint, this 'small' film makes a big impact.‐ Film Journal International
Read More | Posted Dec 20, 2003
72% Girl With a Pearl Earring (2004) The psychology feels jarringly anachronistic.‐ Film Journal International
Read More | Posted Nov 3, 2003
81% The Barbarian Invasions (Les Invasions barbares) (2003) Swarming with ideas, the film never turns schematic or hectoring.‐ Film Journal International
Read More | Posted Nov 3, 2003
43% The Human Stain (2003) Without the sardonic rant of Philip Roth, upon whose novel the film is based, the material plays as stale or preposterous.‐ Film Journal International
Read More | Posted Sep 20, 2003
80% 21 Grams (2003) Inarritu and his fellow artists have contrived something wondrous, a formally innovative fugue filled with demons and despair that somehow comes down on the side of life.‐ Film Journal International
Read More | Posted Sep 16, 2003
49% Demonlover (2003) Even burdened with flaws demonlover is an original cyber-thriller with a potent message from the ever-surprising and gifted Assayas.‐ Film Journal International
Read More | Posted Sep 16, 2003
94% American Splendor (2003) Seldom have grouches, misfits and, yes, nerds seemed so endearing.‐ Film Journal International
Read More | Posted Jul 19, 2003
84% Swimming Pool (2003) Swimming Pool is an entertaining act of provocation that lingers in the mind like iridescent fabric: Turn it one way and it yields this; turn it another and it's a different story.‐ Film Journal International
Read More | Posted Jun 14, 2003
73% Buffalo Soldiers (2001) This full-metal blast at the military is dark, rough-hewn, often hilarious -- and a star-maker for the electric Joaquin Phoenix.‐ Film Journal International
Read More | Posted May 1, 2003
98% The Man Without a Past (2002) A magically dislocated world quite unlike any current filmmaker's, one that provokes laughter, sadness and uplift all at once.‐ Film Journal International
Read More | Posted Mar 22, 2003
49% The Safety of Objects (2001) Tedious exercise in navel-gazing.‐ Film Journal International
Read More | Posted Feb 22, 2003
68% Laurel Canyon (2003) Cholodenko has pulled finely calibrated ensemble work from her perfectly cast actors who, despite varied backgrounds, are on the same page and bring a rare authenticity to their interactions.‐ Film Journal International
Read More | Posted Feb 22, 2003
40% House of Fools (2003) The film gradually seduces with its mix of dark humor and pathos, poetic, circus-like music, and haunting characters.‐ Film Journal International
Read More | Posted Feb 22, 2003
71% All the Real Girls (2003) Green's refusal to deliver a clear-cut denouement is less a tease or failure of imagination than a haunting truth about wounding love. He has bored deep into the American core and come up with gold.‐ Film Journal International
Read More | Posted Feb 15, 2003
67% Amen (2003) You leave the theatre buoyed by the image of two men who put conscience before personal safety.‐ Film Journal International
Read More | Posted Jan 25, 2003
88% The Son (2003) Amply rewards those willing to embrace its austerity.‐ Film Journal International
Read More | Posted Dec 24, 2002
81% The Hours (2002) For its seriousness, high literary aspirations and stunning acting, the film can only be applauded.‐ Film Journal International
Read More | Posted Dec 24, 2002
85% Chaos (2003) Worth watching for its good-humored energy, exposure of social ills, and acting by impeccable pros along with a fabulous newcomer.‐ Film Journal International
Read More | Posted Dec 10, 2002
62% The Crime of Padre Amaro (2002) It's riveting and on-message, and showcases a new facet of a brilliant actor's burgeoning career.‐ Film Journal International
Read More | Posted Nov 19, 2002
81% Blue Car (2003) The film raises predictability to new levels.‐ Film Journal International
Read More | Posted Oct 29, 2002
34% The Weight of Water (2001) So murkily executed that the ending is all but indecipherable through the pea-soup.‐ Film Journal International
Read More | Posted Oct 26, 2002
69% Personal Velocity: Three Portraits (2002) Miller comes at film with bracing intelligence and a vision both painterly and literary.‐ Film Journal International
Read More | Posted Oct 26, 2002
18% Love in the Time of Money (2002) More whiny downer than corruscating commentary.‐ Film Journal International
Read More | Posted Oct 26, 2002
92% Talk to Her (2002) Open-ended and composed of layer upon layer, Talk to Her is a cinephile's feast, an invitation to countless interpretations.‐ Film Journal International
Read More | Posted Oct 26, 2002
79% Punch-Drunk Love (2002) A sustained fest of self-congratulation between actor and director that leaves scant place for the viewer.‐ Film Journal International
Read More | Posted Oct 12, 2002
87% Far From Heaven (2003) A marvel of production design.‐ Film Journal International
Read More | Posted Oct 2, 2002
29% No Such Thing (2002) Why did such fine actors sign on to this lollapalooza?‐ Film Journal International
Read More | Posted Sep 9, 2002
88% Roger Dodger (2002) Its keenly observed set-pieces never add up to a larger picture.‐ Film Journal International
Read More | Posted Aug 21, 2002
65% Possession (2002) A guilty pleasure, like chocolate truffles.‐ Film Journal International
Read More | Posted Aug 18, 2002
89% Comment j'ai tué mon père (My Father and I) (2001) Bravely explores the psychic damage inflicted on Jean-Luc by a withholding, then absent parent.‐ Film Journal International
Read More | Posted Aug 17, 2002
75% Secretary (2002) The characters are more deeply thought through than in most 'right-thinking' films.‐ Film Journal International
Read More | Posted Aug 17, 2002
66% My Wife Is an Actress (2002) Apparently writer-director Attal thought he need only cast himself and his movie-star wife sitting around in their drawers to justify a film.‐ Film Journal International
Read More | Posted Jul 27, 2002
84% Merci pour le chocolat (2000) Chabrol brilliantly conjures menace from the everyday and familiar.‐ Film Journal International
Read More | Posted Jul 27, 2002
73% The Last Kiss (El Último Beso) (2002) Though not much seen on these shores, Italian cinema, to judge by The Last Kiss, is alive and well.‐ Film Journal International
Read More | Posted Jun 15, 2002
92% The Kid Stays in the Picture (2002) Part of the film's cheeky charm comes from its vintage schmaltz.‐ Film Journal International
Read More | Posted Jun 15, 2002
78% Tadpole (2002) Consistently entertaining, with witty dialogue and a kind of Gallic concision, shaved of superfluous moments.‐ Film Journal International
Posted Jun 15, 2002
80% Sunshine State (2002) While you could never fault Sayles for speedy exposition, the donkey-cart pace makes you want to whip the thing along.‐ Film Journal International
Read More | Posted May 25, 2002
35% Bartleby (2002) With a small budget and a brilliant team, director/co-writer Jonathan Parker has brought new relevance to Bartleby's revolt, and converted an office sitcom format into a damning critique of the way many people spend their days.‐ Film Journal International
Read More | Posted May 25, 2002
80% The Royal Tenenbaums (2002) Anderson brilliantly conjures a goofy, skewed world as seen by a hyper kid.‐ Film Journal International
Read More | Posted May 25, 2002
51% Cherish (2002) Tweaking genre convention at every turn, Taylor has created a shimmering entertainment that leaves you, well, humming 'Cherish.'‐ Film Journal International
Read More | Posted May 25, 2002
77% The Dangerous Lives of Altar Boys (2002) Though certainly original in form, Altar Boys requires a taste for Swamp Thing-type animation, doubled with a deafening score.‐ Film Journal International
Read More | Posted May 25, 2002
71% The Lady and the Duke (2001) Let's salute Rohmer's ability at 81 to bend the latest technology to his unique cinematic vision.‐ Film Journal International
Read More | Posted Apr 30, 2002
40% Some Body (2001) A spunky, original take on a theme that will resonate with singles of many ages.‐ Film Journal International
Read More | Posted Apr 20, 2002
83% Thirteen Conversations About One Thing (2001) Thirteen Conversations About One Thing lays out a narrative puzzle that interweaves individual stories, and, like a Mobius strip, elliptically loops back to where it began.‐ Film Journal International
Read More | Posted Mar 30, 2002