John PowersMovie Reviews & Previews - Rotten Tomatoes

John Powers

John Powers
John Powers's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): L.A. Weekly, NPR.org

Movie Reviews Only

Rating T-Meter Title | Year Review
73% The Italian Job (2003) Paramount's new version boasts no such cultural resonance, but it's far more enjoyable than, say, X2 or The Matrix Reloaded. ‐ L.A. Weekly
Posted May 29, 2003
29% Tsui Hark's Vampire Hunters (The Era of Vampires) (2002) The Hong Kong movie industry is crumbling, and this painfully slack horror picture is another sign of its decay. ‐ L.A. Weekly
Posted May 22, 2003
73% The Matrix Reloaded (2003) Feels like a jerry-built sequel. ‐ L.A. Weekly
Posted May 14, 2003
79% Owning Mahowny (2003) [Kwietniowski] tracks his lost hero's descent with a cool, precise visual style that's humanized by Hoffman's unerring ability to seem at once dull, decent and out of control. ‐ L.A. Weekly
Posted May 1, 2003
96% Winged Migration (2003) The footage ... is astonishing both for the beauty of the birds and for its sheer technical brilliance. ‐ L.A. Weekly
Posted May 1, 2003
80% Japon (2003) Reygadas grapples with the most elemental of issues ... and the result is sly, touching and more than a little loony. ‐ L.A. Weekly
Posted Apr 24, 2003
62% Identity (2003) Enjoyably swervy. ‐ L.A. Weekly
Posted Apr 24, 2003
87% Ten (2003) One of the year's finest movies. ‐ L.A. Weekly
Posted Apr 24, 2003
47% City of Ghosts (2003) Dillon doesn't yet possess the directorial chops to give his story the necessary snap; the action too often feels poky and muffled. ‐ L.A. Weekly
Posted Apr 24, 2003
81% Better Luck Tomorrow (2002) Though it doesn't fully transcend its small budget (the lighting is dingy), the story feels rooted in something more solid than prefab posturing. ‐ NPR's Fresh Air
Posted Apr 10, 2003
73% Fellini: I'm a Born Liar (2003) Pettigrew assumes that Fellini was a genius, and while this film won't convince any skeptics, the maestro's fans can sink into it like a hot bath. ‐ L.A. Weekly
Posted Apr 10, 2003
43% Anger Management (2003) Like so many Sandler vehicles, the movie isn't actually funny, but keeps feeling as if it should be. ‐ L.A. Weekly
Posted Apr 10, 2003
57% Irréversible (2002) The opening 50 minutes are brutal, but if you can take the punishment, you'll probably be wowed by Noé's skills as a filmmaker. ‐ L.A. Weekly
Posted Mar 6, 2003
33% Tears of the Sun (2003) Its moral and political viewpoint is so crushingly simple-minded that one yearns for the intellectual nuance of George Bush. ‐ L.A. Weekly
Posted Mar 6, 2003
19% The Life of David Gale (2003) Although I've never before seen Winslet flounder like this, it's Spacey who really needs help -- his desire to be St. Kevin is turning him into a joke. ‐ L.A. Weekly
Posted Feb 20, 2003
44% Daredevil (2003) The movie has far less emotional weight than, say, Spider-Man. ‐ L.A. Weekly
Posted Feb 20, 2003
61% Gerry (2003) Van Sant ultimately reveals so little about this odd couple that we frankly don't give a damn what happens to them. ‐ L.A. Weekly
Posted Feb 12, 2003
71% All the Real Girls (2003) Green is attuned to the poetry of ordinary life, with its longueurs and sudden bursts of deep emotion. ‐ NPR's Fresh Air
Posted Feb 12, 2003
90% Cidade de Deus (City of God) (2003) From beginning to end, City of God doesn't just hold you; it clutches your lapels with its lurid exuberance. ‐ L.A. Weekly
Posted Jan 16, 2003
75% Gangs of New York (2002) What ultimately gives Gangs of New York its power is less its storytelling than its grand, bracingly radical vision of American history. ‐ L.A. Weekly
Posted Dec 19, 2002
79% Confessions of a Dangerous Mind (2003) Rockwell delivers a performance admirable in its hustling sweatiness. ‐ L.A. Weekly
Posted Dec 19, 2002
96% Catch Me If You Can (2002) Bursts with the old-fashioned Hollywood panache. ‐ L.A. Weekly
Posted Dec 19, 2002
85% About Schmidt (2002) Nicholson himself has done all you could ask: This is easily his strongest work since he did Reds and The Border back-to-back 20 years ago. ‐ NPR's Fresh Air
Posted Dec 11, 2002
49% Human Nature (2002) Although a few moments are hilarious, this would-be romp remains laboriously earthbound when it should be swinging gaily through the trees. ‐ L.A. Weekly
Posted Dec 9, 2002
66% Solaris (2002) Tautly elliptical story of love, memory, guilt and redemption. ‐ L.A. Weekly
Posted Nov 27, 2002
48% Femme Fatale (2002) [Romijin-Stamos] knows her way around a wisecrack, and Femme Fatale may do for her what Basic Instinct did for Sharon Stone. ‐ L.A. Weekly
Posted Nov 7, 2002
76% 8 Mile (2002) What saves all this from being purely conventional is the filmmaker's keen sense of Rabbit's essential solitude as an artist, even when surrounded by friends. ‐ NPR's Fresh Air
Posted Nov 7, 2002
33% The Truth About Charlie (2002) The boyish, goofily smiling Wahlberg is egregiously out of place as the kind of charming-ambiguous dreamboat you'd have to be Cary Grant to pull off. ‐ L.A. Weekly
Posted Oct 24, 2002
95% The Trials of Henry Kissinger (2002) Gibney and Jarecki just want to string the bastard up. ‐ L.A. Weekly
Posted Oct 24, 2002
79% Punch-Drunk Love (2002) While it would be stretching it to say that Sandler gives a great performance, he brings Barry alive with a shtick-free, often soulful piece of acting that expands and deepens our sense of his persona. ‐ NPR's Fresh Air
Posted Oct 10, 2002
96% Bowling for Columbine (2002) Although he'd have made a crackerjack ad man, [Moore's] a slipshod filmmaker, and the movie quickly collapses, burying its subject beneath bumper-sticker rehashes of received ideas. ‐ NPR's Fresh Air
Posted Oct 10, 2002
42% Death to Smoochy (2002) A broad, braying yuk fest that revels in coarse jokes ... lacks the courage of its own cynicism ... and refuses to develop its own premise. ‐ L.A. Weekly
Posted Sep 16, 2002
51% In Praise Of Love (Éloge de l'amour) (2002) Godard has never made a more sheerly beautiful film than this unexpectedly moving meditation on love, history, memory, resistance and artistic transcendence. ‐ L.A. Weekly
Posted Sep 5, 2002
60% K-19: The Widowmaker (2002) K-19 is so unnervingly square that it seems eerily like Party-sanctioned Soviet filmmaking. ‐ L.A. Weekly
Posted Jul 18, 2002
67% CQ (2002) A winning piece of work filled with love for the movies of the 1960s. ‐ L.A. Weekly
Posted Jun 1, 2002
92% Insomnia (2002) Seitz ... manages to preserve what gave the original film its power -- gravity, interiority and a sense of moral unease -- yet still endow the action with an enjoyable Hollywood sheen. ‐ NPR's Fresh Air
Posted Jun 1, 2002
75% A Beautiful Mind (2001) It's sad to see a beautiful mind whittled down by such a plain one. ‐ L.A. Weekly
Posted Jun 1, 2002