Man Who Viewed Too Much

Man Who Viewed Too Much is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s):
Rating Title/Year Author
84/100 Adaptation (2002) Mike D'Angelo What makes Adaptation more than just a clever stunt is the way that Laroche's fickle enthusiasm, Orlean's quiet longing and "Kaufman"'s paralyzing self-doubt dovetail to form a potent, funny-sad disquisition on the value of compromise. EDIT
Posted Dec 1, 2002
42/100 Tadpole (2002) Mike D'Angelo Emotions remain tidy and controlled, while potentially farcical situations are handled with an unapologetic clumsiness that would give Feydeau a duodenal ulcer. EDIT
Posted Jul 20, 2002
Sweet Sixteen (2002) Mike D'Angelo Behavioral nuance ultimately trumps sociological message-mongering, thanks largely to another superb central performance. EDIT
Posted Jun 29, 2002
The Pianist (2002) Mike D'Angelo I understand that this story needs to be told again and again and again -- but really, must it be told in quite so pedestrian a fashion? EDIT
Posted Jun 29, 2002
About Schmidt (2002) Mike D'Angelo Reasonably entertaining while it was in front of me, but it's leaving a sour aftertaste. EDIT
Posted Jun 29, 2002
64/100 Lovely & Amazing (2001) Mike D'Angelo There's occasionally a sitcom snappiness to the dialogue, but the new film achieves an offhanded, slice-of-life quality that's expressly cinematic. EDIT
Posted Jun 24, 2002
Rollerball (2002) Mike D'Angelo McTiernan's loud, dull remake of the 1975 James Caan vehicle appears to have been trimmed to the bone since last summer's disastrous test screenings. EDIT
Posted Jun 22, 2002
Skin of Man, Heart of Beast (1999) Mike D'Angelo Beautifully directed and convincingly acted. EDIT
Posted Jun 20, 2002
63/100 Sunshine State (2002) Mike D'Angelo Always intelligent and occasionally quite moving, it's undoubtedly the most exciting motion picture ever made about property values. EDIT
Posted Jun 20, 2002
65/100 Minority Report (2002) Mike D'Angelo So consistently gripping that it might be easy to overlook the ways in which it skims over the enormous ethical and philosophical issues raised by its premise. EDIT
Posted Jun 20, 2002
A- Audition (1999) Mike D'Angelo Formally dazzling and viscerally galvanizing, equipped with a razor-sharp wit (among various other razor-sharp items) EDIT
Posted Jun 20, 2002
Monsoon Wedding (2001) Mike D'Angelo A little too ponderous to work as shallow entertainment, not remotely incisive enough to qualify as drama, Monsoon Wedding serves mostly to whet one's appetite for the Bollywood films. EDIT
Posted Jun 13, 2002
Hannibal (2001) Mike D'Angelo An emotional and thematic void. EDIT
Posted Jun 13, 2002
Amores perros (2000) Mike D'Angelo While the film's bark (style) may be more impressive than its bite (content), sometimes a really loud bark will suffice. EDIT
Posted Jun 13, 2002
Ginger Snaps (2000) Mike D'Angelo By conveying its heady ideas with wit, tension and a modicum of gore, it does its genre proud. EDIT
Posted Jun 13, 2002
8/100 Dragonfly (2002) Mike D'Angelo I'm alone and distraught. EDIT
Posted Jun 13, 2002
And Your Mother Too (2001) Mike D'Angelo Cuaron repeatedly, perversely undercuts the joie de vivre even as he creates it, giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective. EDIT
Posted Jun 13, 2002
Lagaan (2001) Mike D'Angelo It's the most nimble epic you're likely to see. EDIT
Posted Jun 13, 2002
B+ Same Old Song (1997) Mike D'Angelo The movie is highly entertaining even if you've never heard a note of the music before. EDIT
Posted Oct 30, 2001
A- Nowhere to Hide (1999) Mike D'Angelo This is easily the most visually astonishing film since Fallen Angels. EDIT
Posted Feb 21, 2001
3/4 A Perfect Candidate (1996) Mike D'Angelo Relies rather too heavily on television broadcasts, is slow going, but as the campaign progresses, Goodin becomes more and more relaxed in front of the camera, and the viewer becomes more and more distressed at the prospect of September. EDIT
Posted Jan 1, 2000
C+ Bringing Out the Dead (1999) Mike D'Angelo Narrative isn't this movie's strong suit -- one strike for me already, as those of you who know me well know. EDIT
Posted Jan 1, 2000
Underground (1995) Mike D'Angelo A movie that aims so conspicuously for greatness that it's all the more disappointing when it doesn't quite get there. Nevertheless, not to be missed. EDIT
Posted Jan 1, 2000
2/4 Girls Town (1996) Mike D'Angelo It's ... impossible, while watching Girls Town, to forget for a moment that Taylor, Grace and Harris are pretending to be a lot younger and much less self-assured than they actually are. EDIT
Posted Jan 1, 2000
The Gingerbread Man (1998) Mike D'Angelo If Altman opts to tackle Tom Clancy or Elmore Leonard next, rather than attempt another potential masterpiece/disaster, I'll only be mildly disappointed. EDIT
Posted Jan 1, 2000
3/4 Gray's Anatomy (1996) Mike D'Angelo If you've seen and enjoyed either or both of the two previous movies adapted from Spalding Gray's monologues, Swimming to Cambodia and Monster in a Box, then you're more or less guaranteed to enjoy Gray's Anatomy. EDIT
Posted Jan 1, 2000
C+ Girlfight (2000) Mike D'Angelo Quote not available. EDIT
Posted Jan 1, 2000
2.5/4 Target (1995) Mike D'Angelo The gripping conclusion and Puri's terrific performance nearly make it worth seeing anyway. EDIT
Posted Jan 1, 2000
3/4 When We Were Kings (1996) Mike D'Angelo [Ali's] a riot, and this film made me laugh more frequently than most of the outright comedies I've seen this year. EDIT
Posted Jan 1, 2000
3.5/4 Mars Attacks! (1996) Mike D'Angelo I can only report that I've now seen the film twice, and that I laughed my fool head off both times from beginning to end. EDIT
Posted Jan 1, 2000
2/4 Nico-Icon (1995) Mike D'Angelo This, essentially, is a portrait of a vacuum, and however ably it may have been assembled, it still fails to provide us with much insight into the life of a woman whose fame was largely accidental and whose talent was (in my opinion) rather dubious. EDIT
Posted Jan 1, 2000
2.5/4 Schizopolis (1996) Mike D'Angelo It's so relentlessly audacious, and veers off in so many totally unexpected directions, that I can't help but reluctantly admire it. If this film were an actor, it'd be Crispin Glover, and parts of it approach the lunatic brilliance of Andy Kaufman. EDIT
Posted Jan 1, 2000
3/4 The English Patient (1996) Mike D'Angelo A fine, passionate film, but not, in my opinion, the masterpiece that it's so clearly straining to be. EDIT
Posted Jan 1, 2000
C+ The Sixth Sense (1999) Mike D'Angelo It's clever but unsatisfying. EDIT
Posted Jan 1, 2000
C- Remember the Titans (2000) Mike D'Angelo Annoying. EDIT
Posted Jan 1, 2000
2/4 Post Coitum, Animal Triste (1997) Mike D'Angelo Don't make a movie about your own failed love affair, because no matter how painful and traumatic it may have been for you personally, it will seem maudlin and self-indulgent onscreen, especially if you cast yourself in the lead role. EDIT
Posted Jan 1, 2000
B+ Autumn Tale (1998) Mike D'Angelo Beautifully acted, carefully composed (because his movies are so talky and his camera so unemphatic, Rohmer's visual sense is highly underrated), extremely perceptive, and just generally a low-key delight. EDIT
Posted Jan 1, 2000
C+ Julien Donkey-Boy (1999) Mike D'Angelo Korine isn't very skilled at coaxing memorable improvised dialogue from his cast (the film threatens to grind to a halt whenever Herzog starts talking), but his gift for depicting private, solitary moments is considerable. EDIT
Posted Jan 1, 2000
The Lost World: Jurassic Park (1997) Mike D'Angelo The Lost World has the courage of its convictions, however ridiculous and shallow those convictions might be. EDIT
Posted Jan 1, 2000
Sick: The Life and Death of Bob Flanagan, Supermasochist (1997) Mike D'Angelo Flanagan's creative impulses might have taken a different path had he travelled a smoother genetic road, but his mind is so keen, and his sensibility so imaginative, that I suspect that we'd have heard of him even if he'd lived a healthy fourscore years. EDIT
Posted Jan 1, 2000
B- Shakespeare in Love (1998) Mike D'Angelo My take: thoroughly competent; mildly pleasant; utterly forgettable. EDIT
Posted Jan 1, 2000
3/4 Bottle Rocket (1996) Mike D'Angelo An engaging, often hilarious ride. EDIT
Posted Jan 1, 2000
2.5/4 Kundun (1997) Mike D'Angelo The first and final half-hours of Kundun are so exquisite, so magical, so obviously perfect, that I can almost forgive the long, long, long, long, exceedingly lengthy hour or so in-between during which nothing, but nothing, is happening. EDIT
Posted Jan 1, 2000
For Ever Mozart (1996) Mike D'Angelo A dense thicket of ideas in which all but the most hardy and tenacious travelers are bound to become lost and frustrated. As Austin Powers would say, this kind of thing ain't my bag, baby. If it's yours, don't mind me. EDIT
Posted Jan 1, 2000
D Bless the Child (2000) Mike D'Angelo Any minute now, I expect the National Association for the Permanent Advancement of Lucifer's Minions (NAPALM) to protest its release, on the grounds that it portrays Satan-worshippers as complete idiots. EDIT
Posted Jan 1, 2000
3/4 The Flower of My Secret (1995) Mike D'Angelo Almodóvar sets out this time not to provoke, but to probe, and the result is surprisingly tender. EDIT
Posted Jan 1, 2000
2.5/4 Jackie Brown (1997) Mike D'Angelo This movie draaaaaags. EDIT
Posted Jan 1, 2000
B Saving Private Ryan (1998) Mike D'Angelo Genius, genius, crap, crap... EDIT
Posted Jan 1, 2000
Amistad (1997) Mike D'Angelo Amistad is neither as good as it ought to have been nor as wretched as its detractors claim: it's a fine, skillful drama that suffers primarily from Spielberg's chronic insecurity about whether or not we're being moved by the story he's telling. EDIT
Posted Jan 1, 2000
3/4 Nelly & Monsieur Arnaud (1996) Mike D'Angelo Like its hapless characters, it's really a bit too restrained for its own good, but the performances alone make it well worth seeing, and Sautet's elegant, understated direction is a low-key treat. EDIT
Posted Jan 1, 2000