Long Island Press - Rotten Tomatoes

Long Island Press

Long Island Press is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Prairie Miller
Private grief seems to unintentionally dwarf public horror.
Posted Jan 31, 2003
Amen (2003)
Master movie muckraker Moore retraces the final days of the Columbine shooters, in an alternately sordid and absurd trail that ends up encompassing a culpable media and a wacky gun love culture.
Posted Jan 19, 2003
The audience is placed right in the center of events in a multi-sensual, horrific 'you are there' virtual reality of social protest that grabs you and never lets go.
Posted Jan 19, 2003
This true story of some gutsy aboriginee girls who made a daring escape to home across thousands of miles of Australian outback, lyrically inspires and invigorates the human spirit.
Posted Jan 19, 2003
Chicago (2002)
The film is a kind of ragtime flavored jamfest, laced with noirish nastiness.
Posted Jan 19, 2003
A film that worships itself with every frame. A sprawling, boisterous fantasy, but one that takes itself as seriously as if it were a documentary.
Posted Jan 19, 2003
Experimental science bumps up against science fiction as the controversy swirling around genetic cloning is magnified in outer space.
Posted Jan 19, 2003
Nicholson as heartland conformist and nine to five serf Schmidt is the kind of character rarely seen in films, so self-effacing that he lives in the shadow of his own existence.
Posted Jan 19, 2003
A trilogy of stories about women on the edge that features no less than three rotten dads.
Posted Jan 19, 2003
A South Central LA comedy with more of the flavor of Halloween, the film is more about ghetto strife that's just too agitated to, well, pause for Claus.
Posted Jan 19, 2003
What is best about great movies: the multiplicity of social and political forces that symbolically layer and exquisitely complicate unforgettable characters.
Posted Nov 28, 2002
This schlock shocker, at once blunt and fine tuned, is a revealing sendup of America's peculiar paranoid affair with gun love culture and tabloid mythology.
Posted Nov 7, 2002
Idiotic but at times close to cuddly redneck rogues and foul mouthed bimbos populate this white trash purgatory somewhere between cartoon noir and soap farce.
Posted Nov 7, 2002
Censorship dictated the Hollywood product of the time, reflecting only the most idealized notion of U.S. society, with all sorts of skeletons shoved decisively into their closets.
Posted Nov 1, 2002
Filled with vividly etched scenes of the Latina garment workers toiling away, underpaid for the overpriced Bloomingdales bound dresses they could never afford nor fit into.
Posted Nov 1, 2002
Auto Focus (2002)
It's like parking yourself in front of a porn palace and watching the procession of men going in and out, without really learning anything about them.
Posted Oct 28, 2002
Below (2002)
What rounds out the taut WWII terror tale is a more contemporary spin on the paranoia and dehumanization that are the byproducts of war.
Posted Oct 28, 2002
Skins (2002)
A craving for social order and logic where there may be little or none, and lost in a sea of white values and imposed authority irrelevant to Indian pain.
Posted Oct 28, 2002
A wild, wicked and sad, before and after homage to rock groupies and how they age far from gracefully.
Posted Oct 28, 2002
In this epic sweep from dusty, bloodied dunes to dainty British drawing rooms, little light is shed on wars, and what can be done about them.
Posted Oct 28, 2002
The whole notion of celebrity was suddenly shallow and irrelevant when the world was in serious trouble, and we were forced to notice.
Posted Oct 28, 2002
Undisputed (2002)
Can best be described as Animal House with bars, a fantasy musical maximum security joint.
Posted Oct 28, 2002
Simone (2002)
A bit like downloading a few bytes of self-awareness, in a summer of runaway adrenaline laced blockbusters.
Posted Aug 22, 2002
Signs (2002)
M. Night Shyamalan hesitates between mayhem and mysticism.
Posted Aug 22, 2002
Carvey has been dipped in fairy dust in a bid to dazzle a new and different kid audience.
Posted Aug 22, 2002
Bigelow, the only female action thriller director around is one tough chick with a camera, proving she can run a tight ship even if she is the only woman on board.
Posted Jul 28, 2002
Tadpole (2002)
Tadpole may be swimming into risky territory, but it's delightfully easy to swallow.
Posted Jul 18, 2002
This macho lady rants at her best and most comfortable as combo socially conscious female stud.
Posted Jul 5, 2002
Never Again (2002)
A funny, raw, touching, ridiculous, outrageous and heartbreaking midlife romantic comedy, wrinkles and all
Posted Jul 5, 2002
If only the story had been shaped with discipline, subtlety and restraint.
Posted Jul 5, 2002
More verbal than dramatic, the narrative is fed to the audience as gossip and recall, impeding its spontaneous and magical flow.
Posted Jun 20, 2002
A relaxed Sayles goes against the grain by pacing his story as measured and gracefully as the rhythmic flow of life itself.
Posted Jun 20, 2002
If filmmakers tell stories as a way of imposing logic where none exists in the natural flow of life, then this film locates the source of that flow in what we say to one another.
Posted May 24, 2002
Cox gropes blindly into the past to reincarnate Nijinsky visually, viscerally and with a sensual muscularity of movement, gracing the border between inspiration and insanity.
Posted May 24, 2002
The Believer (2002)
The controversy surrounding the movie is equally symptomatic of an advancing singular, dominant and entrenched permitted voice in U.S. filmmaking.
Posted Dec 25, 2001
The Yards (2000)
Edgy and absorbing.
Posted Jan 1, 2000
Three Kings (1999)
The in-your-face physical, psychological and emotional sense of modern warfare in Three Kings defines extreme movie making at its most cinematically intense and delirious.
Posted Jan 1, 2000
Scary Movie (2000)
Scary Movie could be said to give rise to an unprecedented new genre: the horny horror comedy.
Posted Jan 1, 2000
Stigmata (1999)
Stigmata packs a jolting dose of terror compounded by wrap-around chilling gothic atmosphere.
Posted Jan 1, 2000
In Small Time Crooks, Woody Allen gets back to what he does best.
Posted Jan 1, 2000
If you can overlook logic and the sizable loopholes in the story (including the ending), Final Destination will offer an entertaining couple of hours.
Posted Jan 1, 2000
The audience is moved to stick it out with Bacon through the whole ordeal because his take on the character is so genuine and down to earth.
Posted Jan 1, 2000
The current yearning for that more intensely felt cultural or political spectacle is barely explored and then discarded.
Posted Jan 1, 2000
Timecode (2000)
Too often the subconscious pleasure of watching a movie is interrupted by the conscious reminder that a movie is in the process of being made.
Posted Jan 1, 2000
The cast keeps things lively.
Posted Jan 1, 2000
As Cage advances into occupational meltdown, Scorsese grabs the audience for the ride and won't let go.
Posted Jan 1, 2000