Film Review Archives
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 ...
Steve Coogan’s comical egomaniac Alan Partridge jumps from British television to the movie screen – with all of his smarm intact.
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.
This pleasant throwback to the live-action Disney films of yore provides brisk fun for all.
Alfie (2004, 103 min., R)
Jude Law's new Alfie is less tramp and more scamp: the modern metrosexual.
Ali (2001, 158 min., R)
Mann's film, which has some terrific moments, hits the highlights only. Will Smith, layered in subtle facial prosthetics in order to resemble Ali, does no disservice to the memory of the Greatest, but the best thing here is Jon Voight, who loses himself thoroughly in the role of sportscaster Howard Cosell.
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.
Although it has visual panache, this new story is lifeless
The franchise's fourth outing
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 ...
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 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.
Sandra Bullock plays it kooky in this romantic comedy in which she stalks a CNN cameraman (Bradley Cooper) with whom she's smitten.
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 ...
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 Is Lost (2013, 106 min., PG-13)
In this near-wordless film, Robert Redford is compulsively watchable as a man trying to save himself from his sinking ship.