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6,621 results:

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 (1992, 96 min., PG)

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 ...

The Alarmist (1998, 93 min., NR)

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 ...

Albert Nobbs (2012, 113 min., R)

This melancholy picture is distinguished by Glenn Close's vanishing act in the titular role.

Albino Alligator (1996, 96 min., R)

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 ...

Ali G Indahouse (2003, 88 min., R)

Unlike its televised predecessor, Ali G Indahouse just isn’t that funny.

Alias Betty (2001, 103 min., NR)

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 ...

Alice et Martin (1998, 124 min., R)

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 ...

Alice in Wonderland (2010, 108 min., PG)

Sadly, the mirth-to-muck ratio in Tim Burton's new film is deeply imbalanced.

Alien Resurrection (1997, 109 min., R)

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; ...

Alien Trespass (2009, 90 min., PG)

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.

Alien Vs. Predator (2004, 110 min., PG-13)

An asinine grudge match between two of the most memorable Eighties-era screen bugaboos

Aliens in the Attic (2009, 86 min., PG)

A group of kids save their vacation home from extraterrestrials while keeping their clueless elders out of the loop.

Aliens vs. Predator: Requiem (2007, 86 min., R)

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 ...

Alive & Kicking (1996, 100 min., R)

Medical science seems well on its way to turning the AIDS-haunted gay romance genre into a dated curiosity. But even if, as we all pray, the white smocks succeed in their mission, a handful of these ...

All About My Mother (1999, 101 min., R)

All About My Mother merges all of Almodóvar's noted preoccupations with women on the verge of nervous breakdowns, screwball melodramas, and flamboyant visual touches with a cohesive – and universal – story about the faces and roles we all adopt in public.

All About Steve (2009, 98 min., PG-13)

Sandra Bullock plays it kooky in this romantic comedy in which she stalks a CNN cameraman (Bradley Cooper) with whom she's smitten.

All About the Benjamins (2002, 100 min., R)

The ESPN SportsCenterization of action cinema continues apace with All About the Benjamins. My point: Modern actioners increasingly resemble sports highlights shows in their pandering to the Phallo-American community's love of spectacular payoff moments and wise-ass ...

All I Want for Christmas (1991, 92 min., G)

Call this one Miracle on 12th Street. No it's not precisely the same story as the 34th Street model (or even one-third the story), but it borrows much of the same whimsy, grit and Christmas sentiment ...

All Over Me (1997, 90 min., R)

Claude (Folland) is the sort of teenage girl who goes by Claude instead of Claudia: a big, sturdy girl with beautiful red hair, a wardrobe full of loose-fitting clothes, and the desire to start a rock ...

All Over the Guy (2001, 94 min., R)

Like most freakish accidents, falling in love is sometimes just a matter of good timing. In the romantic comedy All Over the Guy, the physical and emotional attraction between one couple is instantaneous, while the relationship ...

All That I Need (2005, 80 min., R)

Movies this bad don’t often get released anymore, a circumstance that instantly raises the curiosity factor of All That I Need.
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