Filters. I don't normally think about filters as much as I did while watching this movie. If someone had spent half as much time thinking about the characters in Airborne as thinking about what filters to ...
Airheads (1994, 92 min., PG-13)
Poor Michael Lehmann's career path is following that same downward spiral as Michael Cimino's: one brilliant film, and then... nothing. Or worse than nothing. Cimino had his Deer Hunter and Lehmann had his Heathers, but neither ...
Ajami (2009, 120 min., NR)
This Oscar-nominated Israeli film reveals not only the divides between Jews and Arabs, but also those between Muslims and Christians, young and old, men and women, and rich and poor.
AKA (2002, 118 min., NR)
Eighteen-year-old Brit from an unhappy background re-invents himself as a member of the aristocracy. He's also working out his gay identity. And it's told in triptyches, too.
Chong cuts a hugely sympathetic figure in the story of his legal troubles after Operation Pipe Dreams, an anti-paraphernalia sweep that specifically targeted his bong business.
This story about a girl from the ghetto who wins the national spelling bee has lofty if sometimes unfulfilled goals, but is a rewarding tale nevertheless.
The film follows around comedian and politico Franken without managing to either inflame or inspire the viewer or add much new information to Franken's already well-documented history.
Aladdin (1992, 90 min., PG)
The folks at Disney see a new dawn on the horizon. It's the rebirth of the animated feature with a wealth of product from not only their own studio, but a host of other animation houses. ...
The Alamo (2004, 135 min., PG-13)
In this round of historical revisionism there's not much to remember except, maybe, Davy Crockett becoming a fiddler on the roof.
Alan & Naomi is set during World War II in New York. It exhibits the kind of excruciating attention to detail that signals misty nostalgia and an impossibly functional family life. Another early indicator that the ...
David Arquette has two basic facial expressions in The Alarmist: a wince, followed by a panicked grimace. It's a limited acting approach oddly fitting for the role of Thomas Hudler, a neophyte salesman wandering Candide-like in ...
Alaska (1996, 108 min., PG)
If you can manage to overlook some annoying gaps in logic and the relentless bombast of the ever-present musical score, Alaska is a pretty decent kids' adventure movie. The primary things that makes it so are ...
This melancholy picture is distinguished by Glenn Close's vanishing act in the titular role.
If nothing else, Spacey’s directorial debut boasts the year’s best cast thus far. Apart from that, however, Albino Alligator is a fierce little hybrid: part deadpan black comedy, part classic noir. Leader Dova (Dillon), his wounded ...
Alex & Emma (2003, 96 min., PG-13)
With the recent news that "bling-bling" has made it into the New Oxford Dictionary, I’d like to propose another addition to our lexicon: the Coppola Curse. It’s what happens when a once-fine director slowly chips away ...
Alex Cross (2012, 101 min., PG-13)
Stretching out of his Madea comfort zone to play James Patterson's FBI profiler is a courageous but misguided move on Tyler Perry’s part.
Alexander (2004, 173 min., R)
Oliver Stone has achieved the impossible: He's made the life of Alexander the Great seem boring.
Alfie (2004, 103 min., R)
Jude Law's new Alfie is less tramp and more scamp: the modern metrosexual.
Ali (2001, 158 min., R)
The best thing about Michael Mann's sprawling yet strangely non-encompassing biopic of Muhammad Ali's life is Jon Voight, who loses himself in the role of sportscaster Howard Cosell so thoroughly that I didn't even recognize the ...
Unlike its televised predecessor, Ali G Indahouse just isn’t that funny.
Alias Betty is either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks. I'm not sure, but both readings of this taut French thriller seem ...
Every adult is a reaction to a childhood. Our adult form represents the survival of (or the succumbing to) the traumas and triumphs of our youth. For the bastard-born Martin, that means recovering from his mother ...
Sadly, the mirth-to-muck ratio in Tim Burton's new film is deeply imbalanced.
Vastly superior to David Fincher's studio-gutted Alien3, this fourth outing still falls short of both Ridley Scott's hair-raising original and James Cameron's balls-out, war-in-space Aliens. Much of the problem here lies with Jeunet's unpleasantly sterile direction; ...
Taking its cues from several classic 1950s sci-fi films, Alien Trespass is a deeply affectionate homage to the era when every kid on the block knew what "Klaatu borada nikto" meant.
An asinine grudge match between two of the most memorable Eighties-era screen bugaboos
A group of kids save their vacation home from extraterrestrials while keeping their clueless elders out of the loop.
Apocalyptic monster mash makes big crash.
Alien³ (1992, 115 min., R)
Weaver's Lt. Ripley and H.R. Giger's brainchild face off in Fincher's beautifully shot sequel that goes nowhere.
Alive (1993, 127 min., R)
I can remember reading the novel Alive when I was much younger and having, not nightmares per se, but more like uneasy dreams for some time after. Frank Marshall's film version of the story deftly manages ...