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 |
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B |
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A Scanner Darkly (2006) |
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"The atmosphere of schizophrenia, paranoia and disconnection from reality is the most faithful screen adaptation of Dick's sensibility to date." | |
Sean Axmaker | |
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B |
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A Tout de Suite (2005) |
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"... a painful and poignant film at once empathetic and critical, more soberly unnerving than exciting, but never less than compelling." | |
Sean Axmaker | |
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A- |
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A.I. Artificial Intelligence (2001) |
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"A film of style, substance and some subtle wit that dares to ponder the future of the human species." | |
William Arnold | |
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B- |
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Abandon (2002) |
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"You've convinced yourself it's a drama just before the story twists, after which the throwaway 'filler' scenes become conversation points you'll decipher on the way home." | |
Ellen Kim | |
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C |
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ABC Africa (2002) |
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"Very much a home video, and so devoid of artifice and purpose that it appears not to have been edited at all." | |
William Arnold | |
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B |
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Aberdeen (2001) |
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"Hans Petter Moland avoids the usual movie cliches of addiction and abuse in his fierce, discomforting portraits..." | |
Sean Axmaker | |
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D |
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Abominable (2006) |
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"One of those fright fests that isn't so much frightening as it is funny... and not in a good way." | |
Winda Benedetti | |
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B |
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About a Boy (2002) |
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"[Grant's] bumbling magic takes over the film, and it turns out to be another winning star vehicle." | |
William Arnold | |
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B |
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About Adam (2001) |
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"Stuart Townsend does an impressive balancing act in "About Adam," a sly romantic comedy set in Dublin that makes a case for the virtue of infidelity. Sort of." | |
Sean Axmaker | |
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A- |
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About Schmidt (2002) |
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"About Schmidt is Nicholson's goofy, heartfelt, mesmerizing King Lear." | |
William Arnold | |
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Absolute Wilson (2006) |
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"Offer insights into the director's methods and motivations." | |
Bill White | |
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C- |
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Accepted (2006) |
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"Amiably banal and instantly forgettable, it gets a barely passing grade largely for just showing up." | |
Sean Axmaker | |
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C+ |
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The Acid House (1998) |
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Click here to see the review. | |
Paula Nechak | |
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B+ |
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Across the Universe (2007) |
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"For die-hard fans of the Fab Four -- and anyone who was touched by the magic of the '60s -- the film is a strange, nostalgic, suitably outrageous ode to a very real revolution in consciousness." | |
William Arnold | |
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C |
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Adam & Steve (2006) |
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"I can't think of another film in which the embarrassment over a freak bowel movement impedes the course of love and commitment." | |
Sean Axmaker | |
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C |
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Adam Sandler's Eight Crazy Nights (2002) |
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"The innocence of holiday cheer ain't what it used to be." | |
Sean Axmaker | |
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A- |
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Adaptation (2002) |
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"A movie that comes excitingly close to being some kind of masterpiece of surrealism." | |
William Arnold | |
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A- |
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Adrenaline Drive (1999) |
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Click here to see the review. | |
William Arnold | |
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B- |
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The Adventures Of Elmo In Grouchland (1999) |
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"Remains faithful to the essence of Sesame Street." | |
Paula Nechak | |
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B |
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The Adventures of Rocky and Bullwinkle (2000) |
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"Surprisingly clever, dripping with respect for its model, and done with considerable wit and style." | |
William Arnold | |
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D+ |
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The Adventures of Sebastian Cole (1999) |
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Click here to see the review. | |
Paula Nechak | |
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B |
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Adventures of Sharkboy and Lava Girl in 3-D (2005) |
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"There is such a joy of play in the film that it's easy to overlook the overdone performances and the lazy script shortcuts." | |
Sean Axmaker | |
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C+ |
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Aeon Flux (2005) |
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"The futuristic thriller is overly familiar and never especially gripping -- and too somber and cerebral for the young action crowd -- but it looks terrific and is in no way an embarrassment." | |
William Arnold | |
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B+ |
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An Affair of Love (2000) |
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"It’s a modest film but rich with observation and unspoken regret, and the texture of their performances bring it to life." | |
Sean Axmaker | |
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C+ |
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The Affair of the Necklace (2001) |
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"Shyer ... fails to whip the production into anything very special, and Swank seems hopelessly miscast and weak at its center." | |
William Arnold | |
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B |
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After Innocence (2005) |
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"The embittered men make fascinating subjects. Although innocent, they have been deeply scarred by their prison years." | |
Bill White | |
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B- |
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After Life (1998) |
|
Click here to see the review. | |
Paula Nechak | |
|
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-- |
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After the Hole (2001) |
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Click here to see the review. | |
| |
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C- |
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After the Sunset (2004) |
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"An uneasy mixture that provides none of the pleasures of the genre." | |
William Arnold | |
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A |
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After The Wedding (2007) |
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"Every scene is kissed with irony, the characters all seem believably flawed, the narrative unfolds with just the right storytelling panache and everything else about the production seems right." | |
William Arnold | |
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C |
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Against the Ropes (2003) |
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"The script ... is shallow and dumb." | |
William Arnold | |
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C- |
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Agent Cody Banks (2003) |
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"Muniz and Duff have a huge following, but they're at the service of endless Meet Cutes and a violent finale that could easily be dubbed 'Explosion Parade.'" | |
Paul West | |
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C |
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Agent Cody Banks 2: Destination London (2004) |
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"Try as it might, this glossy action adventure isn't nearly as clever as the Spy Kids franchise." | |
Ellen Kim | |
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B- |
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Agnes Browne (1999) |
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Click here to see the review. | |
William Arnold | |
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|
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B+ |
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The Agronomist (2004) |
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"... a rousing celebration of a genuine people's hero and a timely reminder that a free press is the greatest weapon in the arsenal of democracy and freedom." | |
Sean Axmaker | |
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B+ |
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Aimee & Jaguar (2000) |
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"Certainly this is great dramatic fodder, and first-time feature film director Max Farberbock has given a terrific visual style, resonance, sense of hope and power to the material." | |
Paula Nechak | |
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C+ |
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Air Guitar Nation (2007) |
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"[Some] may be taken aback by the exhibition of sheer ego in what is clearly a form of replacement therapy for those whose ambitions exceed their talents." | |
Bill White | |
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B- |
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Akeelah and the Bee (2006) |
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"... a celebratory drama engineered to leave you choked up and cheering." | |
Sean Axmaker | |
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A- |
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The Alamo (2004) |
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"A well-crafted, intelligent, no-nonsense western epic that zips us through the famous siege and the birth of Texas with style, verve and impressive historical accuracy." | |
William Arnold | |
|
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| |
C- |
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Alex and Emma (2003) |
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"Charmless and unfunny." | |
William Arnold | |
|
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| |
C+ |
|
Alex Rider: Operation Stormbreaker (2006) |
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"It's not much of a plot and TV veteran director Geoffrey Sax struggles with the big-screen demands of action scenes." | |
Sean Axmaker | |
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B+ |
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Alexander (2004) |
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"Boldly acted, absorbing and satisfying as a history lesson." | |
William Arnold | |
|
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|
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A |
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Alexandra (2008) |
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"Every woman with a child in the military dreams about the mysterious environs of war into which her child has disappeared. Such a dream is the subject of Alexander Sokurov's astonishing Alexandra." | |
Bill White | |
|
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B+ |
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Alexandria Again and Forever (1990) |
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"... creaks somewhat under his pretentions, but his questions and ruminations are honest and his playful direction gushes with a love of film and filmmaking." | |
Sean Axmaker | |
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A |
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Alexandria... Why? (1978) |
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"Chahine's reach exceeds his grasp, but it hardly seems a fault in the bright, bustling mural of a film." | |
Sean Axmaker | |
|
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B |
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Alfie (2004) |
|
"It's a true joy to watch Susan Sarandon, who reprises Shelley Winters' role, deliver Alfie his due, and newcomer Sienna Miller does an excellent turn as a downward-spiraling party girl." | |
Winda Benedetti | |
|
|
|
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B |
|
Ali (2001) |
|
"An exhilarating travelogue through 10 of the most turbulent years of American history, with a rivetingly magnetic personality as its focus." | |
William Arnold | |
|
|
|
| |
B- |
|
Ali Zaoua (2000) |
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"Director Nabil Ayouch balances the pessimism with gorgeous wide-screen photography, a wistfully hopeful conclusion and a succession of gracefully animated sequences designed to show his characters' more gentle inner worlds." | |
William Arnold | |
|
|
|
| |
A |
|
Alias Betty (2002) |
|
"Claude Miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications." | |
Sean Axmaker | |
|
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| |
B- |
|
Alice et Martin (1998) |
|
"(Andre) Techine seems oddly disengaged from the drama... and the film ends abruptly, unexpectedly, on a pleasing but dramatically underwhelming note." | |
Sean Axmaker | |
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