East Hampton Independent
"Yet Mann finds a way of easing into this material; you appreciate his professionalism even as you roll your eyes."
The Manchurian Candidate (2004)
"Surprisingly effective as a thriller -- if ultimately rather timid (especially for an election year) as a political satire."
The Door in the Floor (2004)
"Lines soaked with irony in the novel are played utterly straight-faced in the film-making Irving's tale seem less imaginative (and considerably more pretentious) than it is."
King Arthur (2004)
"After a while, [the film] leaves nothing to register but entwined limbs and falling ash."
Fahrenheit 9/11 (2004)
"It’s less about catching officials off guard than about showing how the nation’s number one official is permanently off guard."
The Terminal (2004)
"A movie so confused that it might have been directed by a jet-lagged world traveler."
Laws of Attraction (2004)
"Adam’s Rib (1949) is by no means a great movie, but seeing as pale an imitation as Laws of Attraction makes one pine for its offhand, witty charms."
Kill Bill: Volume 2 (2004)
"Kill Bill Vol. 2 may well disappoint fans who loved the first half’s dynamism, but in its way, the new movie has the subtlety of Tarantino’s Jackie Brown."
The Girl Next Door (2004)
"Its red-light premise notwithstanding, the movie reflects certain realties of teenage life that always eluded John Hughes."
"Begins as another one of Kaufman’s trademark head trips and takes a leap into the sublime."
Kill Bill: Volume 1 (2003)
"In Kill Bill, the allusions are the text rather than the subtext, and the movie never quite develops a life of its own."
Anything Else (2003)
"At 108 minutes, Anything Else is one of Allen's longest and most disorganized films."
"[Ross'] adaptation retains most of the essential details, but none of the fervor or feeling."
"Arriving ... without the original's stars, directors, or audience, Dumb and Dumberer is conspicuously lacking in raison d'Ítre."
Down With Love (2003)
"The movie turns mod in its last act, and it does so in a way that doesn't feel smug."
Far From Heaven (2003)
"The clash between the technique and the content is jarring, but it might be why Far from Heaven is finally so resonant."
The Truth About Charlie (2002)
"The best remake turned New Wave homage turned Hong Kong action flick ever."
Punch-Drunk Love (2002)
"On a literal level, it only amounts to a shaggy dog story, but anyone who quibbles with the plot is missing the point. Anderson's filmmaking is so spellbinding that the disparate elements seem to fit."
The Man from Elysian Fields (2001)
"All of the elements are in place for a great film noir, but director George Hickenlooper's approach to the material is too upbeat."
Igby Goes Down (2002)
"The film is so emotionally cacophonous that you can't help but admire its audacity."
One Hour Photo (2002)
"Romanek pointlessly tries to justify Sy's behavior: we're supposed to believe that Sy is only crazy because he had an unhappy childhood."
The Good Girl (2002)
"The Good Girl never achieves a Fargo-like balance: it can't decide whether its characters should be treated with dignity or with derision."
The Four Feathers (2002)
"Kapur's interest in Elizabeth may have been prurient, but at least he had an interest."
"Watching Possession is a bit like watching two people do research, except that you never learn anything yourself."
Changing Lanes (2002)
"Had the conclusion been bitter, the message would have been the same -- and maybe even more powerful, because the audience would have gotten the message on its own."
The Bourne Identity (2002)
"The film may be more of a mess than the inside of Bourne's head, but its quirks, strangely enough, are what keep it interesting."
Minority Report (2002)
K-19: The Widowmaker (2002)
"[Bigelow] unwisely does her most frantic directing during the early drill scenes, only to slow the movie down during the reactor clean-up sequences."
"The religious statement is so out of keeping with the tone of the rest of the movie that it seems unintentional."
Full Frontal (2002)
"Full Frontal is the kind of unplanned, meandering film that any aspiring filmmaker could make, but that only a big-name director could easily get distributed."
Mr. Deeds (2002)
"What's surprising about Mr. Deeds, a remake of Capra's Mr. Deeds Goes to Town (1936), is that it tries to be as earnest as its predecessor."