Los Angeles Alternative
La Moustache (2005)
"an awfully rickety, hollow exercise in style over substance"
The China Syndrome (1979)
"Crackling drama about TV reporter (Jane Fonda) investigating a coverup at a faulty nuclear reactor, and pressing upon conflicted technician played by the first-rate Jack Lemmon to go public with the story."
A View to a Kill (1985)
"The aging Roger Moore rehashes his somewhat foppish Bond in this sad '80s installment with Grace Jones as a vampish villainess. Awful, and an embarrassment to the Bond mystique."
Ma Mere (2005)
"...a dispirited affair and often feels like a parody - a decidedly self-serious one - of one of Bertolucci or Pasolini's boundary-pushing offerings from the '70s"
Harper (The Moving Target) (1966)
O homem que copiava (2005)
"utterly fresh and appealing from start to finish"
"a gleeful demonstration of Antal's flair for the medium"
"Take away the subversive hilarity of his movies, and [Solondz] could well be the cinematic equivalent of the Unabomber."
"Oldboy is a true-to-form sendup of grittier, more lurid manga fare. This is good news for die-hard fans of the form and teeth-gritting torture for those who are not."
The Lavender Hill Mob (1951)
"Fun, perfectly realized Ealing Studios outing"
The Killing Fields (1984)
"One of the most potent politically-charged dramas ever made, managing to honor both the epic and the intimate aspects of its drama. One of the top films of the '80s."
" In spite of...obvious and unfortunate flaws, if you're going to see Steamboy do so on the big screen so as to be reminded of the marvels of hand-drawn animation"
Mail Order Wife (2005)
"a simple-minded circle jerk about exploitation, peopled by characters without the least bit of originality, vitality or appeal"
"Wood's story-world details are rendered beautifully, but without a framework to hang them on"
The Crowd ()
"my favorite silent film: poetically told with dazzling direction"
A Love Song for Bobby Long (2004)
"Gabel has potentially challenging material on her hands but her treatment of it feels too hygienic, mistaking tastefulness for subtlety "
Duel in the Sun (1946)
"Lurid, stupid fun"
Mighty Aphrodite (1995)
"Gloss, but well put-together gloss"
Day for Night (1973)
Mad Max (1979)
The Invisible Man (1933)
"Terrific entry in the James Whale horror canon"
The Hobbit (1978)
"Drab, boring but with an oddly moody tone"
The Woodsman (2004)
"Bacon's Walter is a searing creation...breaking through the The Woodsman's well-behaved exterior to reveal something of the...untrodden depths churning at its heart."
The Return (Vozvrashcheniye) (2003)
"an absorbing psychological drama and coming-of-age story in the guise of a road movie"
Gulliver's Travels (1939)
"Cheesy but well-drawn"
"A landmark by an American master"
George Lucas in Love (2000)
"Overhyped bit of semi-witty movie geek fluff"
A Tale of Two Sisters (2003)
"a delirious mélange of styles that absorbs us for two solid hours"
House of Flying Daggers (2004)
"a tedious...excuse for this director to indulge his fetish for digitalized blood and daggers and...immaculately composed nature shots"
"Overnight always holds our interest, not so much as a documentary as an episode of a junky reality TV show. "
Happy Hour (2004)
"Happy Hour is strictly college-level compost, content with its mediocrity, if not wholly unaware of it."
It's All About Love (2004)
"while watching it you might be hit with the urge to grab the Danish writer-director by the collar and shout 'No, it's all about story!'"
"Caouette's movie succeeds because of its cinematic showmanship, injecting the personal documentary form with an urgently expressive avant-gardism."
Lost in La Mancha (2003)
"entertaining without always being compelling"
Bend It like Beckham (2003)
"its irresistible charms and performances are what linger and make Beckham a popcorn, er, samosa flick worth savoring."
Down & Out With the Dolls (2003)
"an assuredly made, unexpectedly poignant and hilarious feel-good flick, pitched somewhere between the goofy campiness of John Waters and the good-heartedness of Cameron Crowe"
The Young Unknown (2000)
"[an] eloquent, damning case against American culture and family"
"While it sometimes fails to live up to its title, Confidence ultimately, wins us over-in short, it dazzlingly does what all good cons are supposed to do. "
Raising Victor Vargas (2003)
"ultimately, it lacks the backbone, the thematic heft, to be anything beyond a sweet redemption story"
"it's through its anarchic, try-anything chutzpah that this bizarrely erotic satire succeeds and entertains"
American Splendor (2003)
"It gets the mood right, but never slows enough to explore its rich, existential landscape--the cynical, ultimately humanist, musings at the heart of Pekar's comic manifestos."
Madame Satã (2002)
"Ainouz' script and style seem unwilling to explore below the surface. He embraces the story's physical details...without revealing much of his subject's soul."