Latest Film Reviews
Are We There Yet? (2005)
[Alternates] rocket-fueled slapstick with soft-piano sentiment....Then again, it's not every day you see Ice Cube, on a horse, charging after a train.
Assault on Precinct 13 (2005)
Plays more like
Die Hard 2
on a budget than a remake in spirit of Carpenter's scrappy original....When the remake is so flavorless...it's time to hit the video shelves.
Appurushîdo (Appleseed) (2005)
[A] warrior babe cradles [an] injured cyborg bunny in her arms and weeps for him. Take that,
Travellers and Magicians (2004)
A dual story of accidental spiritual journeys [that] illuminates storytelling's scriptural capacity to impart life lessons...a charming little film [to see] on a big screen.
Racing Stripes (2005)
While no one will walk out quoting killer punchlines, the requisite fart jokes and pop cultural references are slightly zestier than usual.
White Noise (2005)
As inherently unthrilling, incoherent, and unsatisfying as scrambled porn.
Beyond the Sea (2004)
Kevin Spacey's Beyond the Sea is a wonderful and terrible thing. Some will take to its old-school melodrama and movie-musical virtuosity. Cinematic dog-lovers will come to gawk. Either way, Spacey's...
In Good Company (2004)
Has a pleasant whiff of Capra about it, with its accessible story, good humor, and insinuating themes.
Un long dimanche de fiançailles (A Very Long Engagement) (2004)
When Jeunet attempts to achieve dramatic heft, with no commensurate change in style, he falls distressingly short.
Million Dollar Baby (2004)
Million Dollar Baby
makes the line between subtle and obvious seem finer than it is, and delivers its one-two punches Old-Hollywood-style.
Writer-director David Mamet's unpleasantly truthful paranoid thriller Spartan should contribute to our turn-of-the-century zeitgeist as Alan J. Pakula's The Parallax View did to the post-Watergate '7...
Touching the Void (2004)
Early on in Touching the Void, Joe Simpson explains a basic principle of Alpine Style mountain climbing: "At some point, you're going to have to rely, wholly, on your partner." On that point turns Si...
Meet the Fockers (2004)
DeNiro is pretty much the only reason to see
Meet the Fockers
...[betrays] creative exhaustion.
Fat Albert (2004)
"Hey hey hey," Fat Albert exclaims, "How did I get this way?"
Lemony Snicket's A Series of Unfortunate Events (2004)
When Jim Carrey's Count Olaf sizes up the three perpetually out-of-focus orphans in his musty foyer, he purrs, "I must say, you're a gloomy-looking bunch." The Baudelaire children, it seems, have los...
Flight of the Phoenix (2004)
Flatly retells a high-concept
adventure story that's hard to break, but easy to bleed of its significance.
is guiltily mesmerizing; if it's instructive at all, it's as a cautionary tale of the fatality of lost perspective.
[Despite] an identity crisis...a surprisingly subtle and pleasantly off-kilter comedy-drama.
Kinsey's many contradictions and awkward personality get full attention from Condon's clever treatment and Liam Neeson's best screen performance in years.
The Life Aquatic with Steve Zissou (2004)
Admirably scruffy in its droll comic pursuits, but has all the storytelling aplomb of a Sunday-funnies section.
Cachorro (Bear Cub) (2004)
The Spanish dramedy Bear Cub tells the story of Pedro, a gay Madrid dentist who slows down his swinging ways to care for his sister's son, Bernardo. On paper, Bear Cub sounds like a sickly sweet, con...
Blade: Trinity (2004)
Instead of building on its predecessors,
feels cheap, compromised, and plumb tuckered out.
28 Days Later (2003)
"The mystic chords of memory stretching from every battlefield and patriot grave to every living heart and hearthstone, all over this broad land, will yet swell the chorus of the organ when again tou...
House of Flying Daggers (2004)
Symbolic martial arts romance...sex and death offer a freedom but also a finality...colorful, sumptuous, and often gorgeous.
is unavoidably a problematic epic, but it has integrity and deserves an audience willing to engage in Stone's dialogue.
Strangers becoming lovers, lovers becoming estranged: the paradox of oh-so-modern coupling keeps the home fires burning in Patrick Marber's astringent
Touch of Pink (2004)
What do you get if you cross Play It Again, Sam with The Birdcage? You might get Touch of Pink, Ian Iqbal Rashid's sweet and gentle farce about the trouble with maintaining illusions. Unfortunately,...
We Don't Live Here Anymore (2004)
We Don't Live Here Anymore
frames with precision emotional moments in the lives of people who build their own prisons and, over time, plot escapes.
She Hate Me (2004)
A reminder that Spike Lee is one of our great American filmmakers, unafraid to address, directly and artfully, contemporary issues in a context of national history.
Silver City (2004)
A pastiche of
and the deeply sarcastic ensemble satires of Robert Altman...Cooper's English-mangling version of George W. is a certified hoot
Finding Neverland (2004)
A missed opportunity...recommendable to audiences looking for a warm-hearted, tearjerking movie, but not terribly commendable for cineastes in search of a sophisticated film.
La Mala educación (Bad Education) (2004)
True to form, Almodóvar gets unimpeachable performances from his cast (particularly Bernal...) and paints his frames with gleefully lurid strokes.
Christmas with the Kranks (2004)
A mildly abrasive satire of America's holiday lockstepping [which backpedals] desperately into toothless humanism.
Callas Forever (2004)
sequences, though consistent with
's washed-out '70s look, have a beauty and immediacy which the rest of the film lacks.
Vera Drake (2004)
The austerity of the film's latter part might seem merely maudlin had Leigh not so carefully established that life goes on in and around the film's central polemic.
Bridget Jones: The Edge of Reason (2004)
Oscar winner Jim Broadbent turns up long enough to say, "I wish I was dead."
Lightning in a Bottle (2004)
Though many of the performers aren't, or arguably aren't, blues artists (but rather soul, R and B, or even folk artists)...a cheap seat for a fun-filled, big-ticket event.
After the Sunset (2004)
The plotting of this otherwise workmanlike comedy-adventure is as fundamentally ridiculous as it is predictable and lacking in tension.
smacks its dog with a rolled-up newspaper and then feels guilty about it. This one has star power and nothing else, y'know what I mean?
Saw opens with fair warning in the form of a production company logo for Twisted Pictures. Razor-sharp barbed wire twists into the center of the frame, where an iron spike impales the wire. No rain...
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