Lawrence Van Gelder Movie Reviews & Previews - Rotten Tomatoes

Lawrence Van Gelder

Lawrence Van Gelder
Lawrence Van Gelder's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times

Movie Reviews Only

Rating T-Meter Title | Year Review
4/5 No Score Yet Night Larry Kramer Kissed Me (2001) Quote not available.‐ New York Times
Read More | Posted May 30, 2001
3.5/5 43% Amy (2001) Provides satisfactions that must be balanced against its flaws.‐ New York Times
Read More | Posted May 18, 2001
3.5/5 78% Keep the River on Your Right (2000) An engaging and colorful but somewhat overbalanced documentary.‐ New York Times
Read More | Posted May 14, 2001
3.5/5 71% Brigham City (2001) The performances ... are impeccable.‐ New York Times
Read More | Posted May 4, 2001
80% The Apple (1999) Makhmalbaf elicits remarkably unaffected performances.‐ New York Times
Read More | Posted Apr 3, 2001
73% Siegfried & Roy: The Magic Box (1999) Movies are not a hospitable medium for magic, at least not the kind of magic practiced in Las Vegas by Siegfried and Roy.‐ New York Times
Read More | Posted Apr 3, 2001
3/5 32% Exit Wounds (2001) For those in search of action-filled escapist entertainment who are willing to jettison expectations of credibility into the nearest popcorn tub, Exit Wounds ... will do to pass time on an inclement day.‐ New York Times
Read More | Posted Mar 20, 2001
1.5/5 50% God's Army (2000) Quote not available.‐ New York Times
Read More | Posted Feb 7, 2001
3% Mortal Kombat: Annihilation (1997) Here's the lowdown on the latest chapter in Mortal Kombat: deadly dull.‐ New York Times
Read More | Posted Jan 1, 2000
3.5/5 69% Portraits Chinois (1996) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 67% Defying Gravity (1997) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
3.5/5 No Score Yet Love, Etc. (1999) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
0.5/5 14% Shadow Hours (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
3.5/5 48% Love & Sex (2000) Janssen and Favreau provide enjoyably consoling company for those still dating their way through life.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 12% Tales from the Crypt Presents Bordello of Blood (1996) Vampires aren't the only things in Bordello of Blood that can't stand up to daylight. Neither can the plot.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 62% Paulie (1998) It is something to behold.‐ New York Times
Read More | Posted Jan 1, 2000
1/5 33% Price of Glory (2000) Not particularly well acted, it overstays its welcome and proves simultaneously predictable as a sports film and unconvincing as family drama.‐ New York Times
Read More | Posted Jan 1, 2000
96% The Iron Giant (1999) Directed by Brad Bird, The Iron Giant is a smooth, skilled example of animated filmmaking.‐ New York Times
Read More | Posted Jan 1, 2000
1/5 23% Deuce Bigalow: Male Gigolo (1999) The problem with Deuce Bigalow: Male Gigolo is the low level of its low humor.‐ New York Times
Read More | Posted Jan 1, 2000
46% For Love of the Game (1999) Filmmaking, like baseball, is a team game, and sometimes even a talented lineup produces unexceptional results.‐ New York Times
Read More | Posted Jan 1, 2000
10% House Arrest (1996) As sitcoms go, House Arrest, opening today, is more sit than com.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 20% MVP: Most Valuable Primate (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
23% I'll Be Home for Christmas (1998) If you've never had the urge to kick Santa Claus, this might be just the irksome misadventure into comedy that will drive you over the edge.‐ New York Times
Read More | Posted Jan 1, 2000
2.5/5 28% Drive Me Crazy (1999) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
3.5/5 36% I Know What You Did Last Summer (1997) Like Williamson, Jim Gillespie, the director, respects the conventions of the genre.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 27% Instinct (1999) [Hopkins and Gooding Jr.] keep Instinct afloat on its sea of simplisms through a succession of climaxes until at last it reaches its unavoidable ending.‐ New York Times
Read More | Posted Jan 1, 2000
0.5/5 No Score Yet Whispers: An Elephant's Tale (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
2.5/5 41% The Phantom (1996) The pleasures are familiar, but not the least bit inspired.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 41% The Big Hit (1998) Insatiable moviegoers are advised to wait till this action-comedy, written by Ben Ramsey, thuds into video stores; tasteful moviegoers will avoid it altogether.‐ New York Times
Read More | Posted Jan 1, 2000
4.5/5 93% Paragraph 175 (2000) At once admirable and deeply unsettling.‐ New York Times
Read More | Posted Jan 1, 2000
96% Supercop (1996) Chan is joined in this outing by a female co-star, Michelle Khan, who seems every bit his equal when it comes to martial-arts prowess and foolhardy daredeviltry. Taken together, they're like watching two 007's, one 0014 or, as they say now, whatever.‐ New York Times
Read More | Posted Jan 1, 2000
12% Steel (1997) Slow to gather momentum and generates little excitement or tension.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 25% Detroit 9000 (1998) As an example of the genre the French call a policier, the film is unexceptional.‐ New York Times
Read More | Posted Jan 1, 2000
1/5 No Score Yet Angel's Ladies (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 29% The Thirteenth Floor (1999) [A] stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.‐ New York Times
Read More | Posted Jan 1, 2000
0.5/5 4% The Mod Squad (1999) At the end, theater exit signs are welcome beacons.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 87% Fire (1996) Fire may be a film, but its story of frustrated desires, love-starved women and the stifling bonds of tradition makes it resemble one of those fat best-selling novels that can fill a summer day at the beach with hours of undemanding pleasure.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 56% George of the Jungle (1997) George of the Jungle may be unsophisticated, but it is enjoyable.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 38% Light It Up (1999) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
4/5 85% Open Your Eyes (Abre los Ojos) (1999) A film with enough intellectual meat on its stylish bones to give more adventurous moviegoers something to chew on afterward.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 35% Bootmen (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
54% Why Do Fools Fall In Love (1998) Lymon's career may have been short and sad, but Why Do Fools Fall in Love finds the melodrama of his life in the exciting music of his time and the tumult of his romances.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 20% Next Friday (2000) Notable chiefly for feeding a stereotype of blacks as shiftless layabouts interested mainly in recreational drugs and irresponsible sex.‐ New York Times
Read More | Posted Jan 1, 2000
4/5 55% The Little Vampire (2000) Not often does a family film come along that is literate, clever, mischievous and just plain fun.‐ New York Times
Read More | Posted Jan 1, 2000
4/5 90% Gabbeh (1997) Like its subject, Gabbeh is woven with art.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 11% Body Shots (1999) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
2/5 67% Luminarias (2000) Quote not available.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 12% My Favorite Martian (1999) Travel from Mars to Earth is an amazing feat, but not much more remarkable than reviving a sitcom that had been dead for a third of a century.‐ New York Times
Read More | Posted Jan 1, 2000
2.5/5 25% The Flintstones in Viva Rock Vegas (2000) The Flintstones in Viva Rock Vegas stumbles at its outset by setting up an adult premise inevitably undone by the film's aspirations to family entertainment.‐ New York Times
Read More | Posted Jan 1, 2000
3/5 28% Maximum Risk (1996) From start to finish, Maximum Risk presents spectacular stunts choreographed and coordinated by Charles Picerni and some hair-raising, stomach-churning automotive chases attributed to Remy Julienne, the French master of the art.‐ New York Times
Read More | Posted Jan 1, 2000