Maitland McDonagh, TV Guide
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For 2,229 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
Average review score: 54
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 65 Metascore
    • 63 Maitland McDonagh
    While Canadian writer-director Eric Nicholas has no fresh thoughts about the voyeuristic nature of movie going, he knows enough to make sure when high-tech peeper Doug (Colin Hanks, son of Tom) conceals his camera in a bag, its lens pokes out of the zipper like the big, fat metaphor it is.
    • 73 Metascore
    • 63 Maitland McDonagh
    The film's pared-down narrative is anything but aimless, and it pays off in a haunting final last scene scored with Gang of Four's "Damaged Goods."
    • 62 Metascore
    • 63 Maitland McDonagh
    Television director David Von Ancken's metaphorical revenge Western wears its influences on its sleeve, but adds nothing to the genre that hasn't already been explored in the quietly demythologizing films of Anthony Mann and Budd Boetticher, the baroque, operatic Italian Westerns of Sergio Leone and his less-familiar peers, and even in Sam Fuller's deranged, post-Civil War psychodrama "Run of the Arrow"(1956).
    • 36 Metascore
    • 63 Maitland McDonagh
    Just when the film seems to be getting bogged down in "before I made it big" anecdotes -- around the time she and Andy Dick, who was once dismissed from a food-service gig, spend a day operating a mobile lunch stand -- Gurwitch wisely broadens her focus, interviewing ordinary victims of corporate "right-sizing," plant closings.
    • 57 Metascore
    • 63 Maitland McDonagh
    Malkovich pulls out all the gaudy stops.
    • 58 Metascore
    • 63 Maitland McDonagh
    Fergus' thriller benefits from Pearce's high-strung performance and the stark New Mexico landscapes, but the story is familiar and the pacing much too measured for a slight tale of ineluctable fate.
    • 70 Metascore
    • 63 Maitland McDonagh
    It's a show we don't see, presumably because of issues with music rights, and while "much ado about nothing" might be overstating things, after more than an hour and a half of buildup, it would have been nice to see Wu-Tang perform.
    • 62 Metascore
    • 63 Maitland McDonagh
    Does so many things right that it's a shame to see it sink into horror-movie cliches.
    • 60 Metascore
    • 63 Maitland McDonagh
    While Travolta and Gandolfini have the beefy, closed-off look of post-WWII era cops, they never FEEL: They look like actors playing dress up. Leto overcomes his delicate good looks to embody Fernandez's feral, faintly exotic charm, but Hayek is a standard-issue femme fatale, damaged on the inside but flawless on the surface.
    • 75 Metascore
    • 63 Maitland McDonagh
    Shelly was murdered before she could continue developing as a writer and director, and while this, her last film, is extremely uneven and undermined by an excess of quirk, Keri Russell's performance as a pregnant pie-guru is a charmer with a bracing streak convincingly desperate determination.
    • 67 Metascore
    • 63 Maitland McDonagh
    Grabsky's meticulous and frequently monotonous documentary about the life and music of Wolfgang Amadeus Mozart comes to vivid life whenever one of the many world-class musicians who sat for interviews simultaneously describes and demonstrates exactly what's so special about particular compositions.
    • 26 Metascore
    • 63 Maitland McDonagh
    Though rooted in broad stereotypes and sassy platitudes, the film's feisty cast and generally sunny outlook make for warm and reassuring comfort viewing, the equivalent of a straight-from-the-box dish of mac and cheese.
    • 53 Metascore
    • 63 Maitland McDonagh
    Baldwin dominates the screen with his slick, beefy swagger, and if Prinze is less than convincing as a kid from Brooklyn, Caan and Ferrara nail Carmine and Bobby with such assured economy that it hardly matters they're one-note roles.
    • 38 Metascore
    • 63 Maitland McDonagh
    The result is a little bit nutty and pretty entertaining in a thoroughly unconvincing way. And watch out for that 11th-hour twist -- it's a head snapper.
    • 50 Metascore
    • 63 Maitland McDonagh
    It's almost three hours long, and that's a lot of time to invest in what is, essentially, a theme-park attraction you can't ride.
    • 48 Metascore
    • 63 Maitland McDonagh
    There's always been a wide streak of the tediously naughty little boy in Besson, and all the seductively stylized images in the world can't hide it.
    • 52 Metascore
    • 63 Maitland McDonagh
    The New Jersey locations and soundtrack help ground the story in a particular time and place, and Schroeder delivers a terrific performance.
    • 61 Metascore
    • 63 Maitland McDonagh
    For all its impeccable indie credibility, writer-director Zoe Cassavetes' bittersweet romance is little more than a hipster chick flick in which the same old smart women make the usual foolish choices.
    • 69 Metascore
    • 63 Maitland McDonagh
    The key to enjoying the fourth installment in this testosterone-fueled franchise is accepting that it's a live-action cartoon that makes no effort to conform to the laws of gravity, plausibility or common sense.
    • 48 Metascore
    • 63 Maitland McDonagh
    Wongpim pays tribute to classic Italian Westerns in his face-hugging close-ups, but his film is more silly than existentially anarchic, and its exotic quirkiness wears thin quickly.
    • 71 Metascore
    • 63 Maitland McDonagh
    This fifth film should please fans who rate the films based on their fidelity to the canonical texts. But for the uninitiated, it's a dry and slightly dreary introduction to the world of Hogwarts and Azkaban.
    • 53 Metascore
    • 63 Maitland McDonagh
    Sweet-natured, formulaic and ripe for an American remake.
    • 64 Metascore
    • 63 Maitland McDonagh
    In the end, sharp writing and terrific performances can't compensate for the fact that the back-and-forth between a sour scribe and a manipulative celebrity doesn't amount to a hill of beans in this crazy world.
    • 65 Metascore
    • 63 Maitland McDonagh
    Anime enthusiasts will want to take a look, but the film is too uneven to serve as a good introduction to the form.
    • 55 Metascore
    • 63 Maitland McDonagh
    Jane Austen deserves better than to be subordinated to her own creation, the spirited Lizzy Bennet.
    • 66 Metascore
    • 63 Maitland McDonagh
    Thank goodness for Pfeiffer's Lamia, a harridan who's lived long enough to get the face she deserves and will do anything to hide it. She's a wicked delight.
    • 55 Metascore
    • 63 Maitland McDonagh
    Lurie's film never fully reconciles the story about newsroom ethics with the sentimental drama about bad dads and bereft sons.
    • 57 Metascore
    • 63 Maitland McDonagh
    McCormack and Cochrane can't transcend the clichéd, meandering dialogue, so Brad and Lexi's dilemma never feels like anything but a didactic contrivance.
    • 52 Metascore
    • 63 Maitland McDonagh
    The payoff fizzles, but the buildup is intriguing until it topples under its own weight.
    • 56 Metascore
    • 63 Maitland McDonagh
    And yes, that is Salma Hayek in the chorus line of sexily sinister nurses, perhaps repaying Taymor for lending her dramatic credibility with "Frida."
    • 33 Metascore
    • 63 Maitland McDonagh
    Frankly, it's dumb, but no dumber than "Transformers."
    • 41 Metascore
    • 63 Maitland McDonagh
    Equal parts "Mad Max" and "Day of the Dead," this third and supposedly final entry in the Resident Evil franchise is no less derivative than its predecessors but moves along at a brisk clip.
    • 42 Metascore
    • 63 Maitland McDonagh
    The story's incredible coincidences, lazy cynicism and easy ironies recast a real-life horror story as easy-to-dismiss melodrama, complete with sequential "happy" endings.
    • 46 Metascore
    • 63 Maitland McDonagh
    It feels as though everyone involved was having a rollicking good time, and while the film itself is wildly uneven, Lin and company get in a few pointed jabs at Hollywood fatuousness and self-delusion, cultural stereotypes and '70s fashions.
    • 53 Metascore
    • 63 Maitland McDonagh
    Mark Boone Jr. makes a vivid impression as eccentric loner Beau Brower, and Danny Huston is mesmerizing as the leader of the shrieking, slashing, wallowing-in-gore bloodsuckers. They effortlessly eclipse the rest of the cast.
    • 46 Metascore
    • 63 Maitland McDonagh
    It's hard to watch two fine actors working themselves into a lather for so little reward.
    • 58 Metascore
    • 63 Maitland McDonagh
    The minutiae of Carter's book tour isn't always enthralling, but his personality drives the film: pious, stubborn, devoted to his wife, curious, professional, warm and yet slightly removed from the fray, conciliatory, meticulous, self-effacing, funny, decent, intellectually rigorous and firmly committed to his positions.
    • 67 Metascore
    • 63 Maitland McDonagh
    Often rings painfully true, but would have benefited from judicious editing.
    • 54 Metascore
    • 63 Maitland McDonagh
    This candy-colored animated fable is an awkward mix of corny bee puns, clever sight gags, kid-friendly action, adult-centric workplace angst and Seinfeld's distinctive navel-gazing wit. And what's up with those four-legged bees?
    • 70 Metascore
    • 63 Maitland McDonagh
    Homey but not especially interesting trips down the Ellis and Cheney family lanes.
    • 58 Metascore
    • 63 Maitland McDonagh
    The movie has a monster problem -- the more you see of them, the less scary they are -- most of the characters are standard-issue types, and Harden seriously overdoes the pious psycho bit.
    • 57 Metascore
    • 63 Maitland McDonagh
    Polished but oddly lifeless heist thriller.
    • 57 Metascore
    • 63 Maitland McDonagh
    Beautifully encapsulates the film's sensibility, a bizarre mix of reverse cool and childishness.
    • 55 Metascore
    • 63 Maitland McDonagh
    Though ultimately flawed, the film's depiction of velvet-gloved cruelty and matter-of-fact betrayal is surprisingly potent, and it's pure pleasure to watch Bacall prowling the corridors of power, tossing her golden mane and tossing off world-weary observations in a voice pitched somewhere between a purr and a growl.
    • 65 Metascore
    • 63 Maitland McDonagh
    Matheson's bitterly ironic ending -- which pivots on the nature of Neville's legend -- is gutted and turned into formulaic pap.
    • 50 Metascore
    • 63 Maitland McDonagh
    Surprisingly compelling, if not up to dealing with the larger political issues it raises.
    • 63 Metascore
    • 63 Maitland McDonagh
    When Cox is performing, the movie is firing on all cylinders.
    • 46 Metascore
    • 63 Maitland McDonagh
    The result is the farthest thing from a bland, spineless sequel: It's a brutal, insanely excessive successor to grindhouse pictures of yore.
    • 63 Metascore
    • 63 Maitland McDonagh
    Formulaic but well-acted variation on the theme of pursuing your dreams through dance.
    • 59 Metascore
    • 63 Maitland McDonagh
    For parents who were unable to secure tickets for the young fans in their households, it's nothing short of a godsend.
    • 68 Metascore
    • 63 Maitland McDonagh
    Thoroughly heartfelt. But though Trachtman alludes to the impact that Lior's special needs and local fame has had on his family, she seems uninterested in exploring the larger history of beliefs and traditions concerning mentally challenged people and their closeness to God.
    • 50 Metascore
    • 63 Maitland McDonagh
    It's a terrific showcase for battling Boleyn babes Scarlett Johansson and Natalie Portman.
    • 40 Metascore
    • 63 Maitland McDonagh
    Stanford's script is painfully obvious, right down to the line of dialogue spelling out the title's significance.
    • 48 Metascore
    • 63 Maitland McDonagh
    21
    A predictable moral tale enacted by blandly pretty young things who bear little resemblance to the average brainiac.
    • 45 Metascore
    • 63 Maitland McDonagh
    Could as easily be called "Spurlock: Cultural Learnings Of America for Make Benefit Glorious Nation Of America."
    • 45 Metascore
    • 63 Maitland McDonagh
    On its own low-bar terms, it delivers the goods: pole-dancing, gut-chomping and Jenna J.
    • 55 Metascore
    • 63 Maitland McDonagh
    What it lacks in objectivity, it makes up for in vivid intimacy.
    • 31 Metascore
    • 63 Maitland McDonagh
    Jackman and McGregor are a delight to watch.
    • 57 Metascore
    • 63 Maitland McDonagh
    If only the wit weren't overwhelmed by lame jokes about body parts, functions and fluids.
    • 69 Metascore
    • 63 Maitland McDonagh
    A perverse mixed-martial arts film in which talk trumps action.
    • 44 Metascore
    • 63 Maitland McDonagh
    Though neither subtle nor particularly original, Gens' spin on the meat-movie classic has both nightmarish energy to spare.
    • 63 Metascore
    • 63 Maitland McDonagh
    This scrappy, ultra-low budget comedy, made in 19 days for $70,000 by North Carolina School of the Arts graduates Jody Hill, Danny McBride and Ben Best, comes with its own Cinderella tale: It debuted at the 2006 Sundance Film Festival but failed to find distribution until comedian Will Ferrell and his business partner, Adam McKay, championed it.
    • 47 Metascore
    • 63 Maitland McDonagh
    Sivan's film is well acted, beautifully photographed and oddly reassuring. It comes perilously close to suggesting that the injustices of colonial rule were the product of morally weak and misguided individuals rather than a system that empowered and enriched foreign interests at the expense of locals.
    • 54 Metascore
    • 63 Maitland McDonagh
    It's a light, silly instantly forgettable comedy peppered with action set-pieces and affectionate nods to its fondly remembered predecessor, including a gracious end-credits dedication to the late Don Adams and Edward Platt.
    • 56 Metascore
    • 63 Maitland McDonagh
    The film is flat-out gorgeous and contains moments of sheer lunacy.
    • 64 Metascore
    • 63 Maitland McDonagh
    Slick, stylish and super-violent, but also oddly dull.
    • 57 Metascore
    • 63 Maitland McDonagh
    This dumbed-down spin on Jules Verne's classic adventure tale was devised as a kid-friendly roller-coaster ride, and it delivers the goods. Whether anyone over the age of eight wants the goods is another matter altogether.
    • 69 Metascore
    • 63 Maitland McDonagh
    A cute, slight tale.
    • 74 Metascore
    • 63 Maitland McDonagh
    While rich in ethnographic detail, the film ultimately recalls nothing more than pulp fictions like Robert E. Howard’s "Conan the Barbarian," which validate their worship of ubermensch-ian brawn by way of sad tales of childhood victimization.
    • 61 Metascore
    • 63 Maitland McDonagh
    Restrained and decorous to a fault.
    • 47 Metascore
    • 63 Maitland McDonagh
    The Carter and Spotnitz's credit, such weighty concerns aren't the stuff of most mainstream genre movies. But they're also not sufficiently gripping to transform a middling thriller into something truly provocative or haunting.
    • 58 Metascore
    • 63 Maitland McDonagh
    Kilmer and Dorff, who was also an executive producer, immerse themselves in difficult roles.
    • 63 Metascore
    • 63 Maitland McDonagh
    The sequel is something of a disappointment, embroiling its refreshingly level-headed heroines in a series of clichéd romantic dilemmas.
    • 70 Metascore
    • 63 Maitland McDonagh
    There's a terrific movie buried in Woody Allen's tale of two American girls broadening their horizons in Barcelona, and every once in a while tantalizing glimpses penetrate the twee narration and mannered performances.
    • 46 Metascore
    • 63 Maitland McDonagh
    Cheerfully gross, deliberately retro horror picture pays tongue-in-cheek homage to the kind of genre movies Charles Band and Roger Corman's companies turned out in the 1980s.
    • 55 Metascore
    • 63 Maitland McDonagh
    Has a certain silly, kid-friendly charm.
    • 37 Metascore
    • 63 Maitland McDonagh
    There's something disheartening about seeing real-life stories and their inevitable complexities put through the Hollywood sausage machine and transformed into bland parables about a privileged, wayward young bucks redeemed by wise, infinitely patient mentors and the self-abnegating spirit of team sports.
    • 71 Metascore
    • 63 Maitland McDonagh
    But the movie is long and didactic, undermined by the faintly pious air of an educational slide show.
    • 71 Metascore
    • 63 Maitland McDonagh
    The fewer movies like this you've already seen, the better this one will play.
    • 54 Metascore
    • 63 Maitland McDonagh
    Despite solid performances from the leads, it comes shrouded in a heavy cloud of ethics-class complications that makes it feel like a "dilemma of the week" TV movie.
    • 40 Metascore
    • 63 Maitland McDonagh
    Danish writer-director Ole Bornedal delivers up a stylish thriller whose murky, shot-through-pond-scum cinematography is its most distinctive feature.
    • 64 Metascore
    • 63 Maitland McDonagh
    With its attractive cast, beguiling score and relatively straightforward narrative, this dark fable of letters and lust is one of Greenaway's most accessible works.
    • 43 Metascore
    • 63 Maitland McDonagh
    While sumptuously beautiful, the film is often stilted and undermined by some painfully amateurish performances that no good intentions can smooth over.
    • 55 Metascore
    • 63 Maitland McDonagh
    Her heavy-handed montage of war, civil rights demonstrations, revolutions and KKK gatherings, intercut with Shicoff's delivery of the opera's devastating fourth-act aria, is so amateurish it very nearly succeeds in trivializing the power of his performance.
    • 34 Metascore
    • 63 Maitland McDonagh
    The film's performances are uniformly strong and remarkably coherent, given the conditions under which they were delivered. The actors shot for eight hours straight in a fully lit and set-decorated house, each individually miked and followed by his or her own personal camera operator.
    • 58 Metascore
    • 63 Maitland McDonagh
    The product of this ingenuity is a slight spin on an obscure motion-picture artifact, but it's surprisingly artfully done.
    • 45 Metascore
    • 63 Maitland McDonagh
    The goofy use of animated, Flubber-like blobs aping Robert Palmer's "Addicted to Love" video (by way of illustrating the irresistibility of desire itself) makes it hard to take the science seriously, which is the BLEEP problem in a nutshell.
    • 40 Metascore
    • 63 Maitland McDonagh
    The result is something close to a textbook example of how NOT to visualize spiritual principles of the "be here now" variety.
    • 74 Metascore
    • 63 Maitland McDonagh
    Despite the frequent and elaborate sex scenes, the film's overall tone is both melancholic and alienating, suffused with the sad certainty of Claudine's impending death in Venice.
    • 63 Metascore
    • 63 Maitland McDonagh
    It's hard to tell whether Hyams' subjects are exceptionally nice guys or whether there's an excess of decency on the PBR circuit, but if even one were more conspicuously flawed, the film might be more compelling.
    • 57 Metascore
    • 63 Maitland McDonagh
    Leguizamo deserves real kudos for making what he does of T.C., who is the film's walking lesson in how to undermine elitist clichés about working-class Long Island.
    • 51 Metascore
    • 63 Maitland McDonagh
    Philippe Diaz's controversial documentary about the legacy of the brutal 1991-2002 civil war in Sierra Leone -- widely considered the poorest country in the world, despite its rich mineral resources -- suggests that the rebel faction RUF (Revolutionary United Front of Sierra Leone) was not alone in terrorizing civilians and committing atrocities, most famously the amputation of limbs with machetes.
    • 43 Metascore
    • 63 Maitland McDonagh
    The acting is flat, and the scientist's ideological speeches too bluntly designed to mirror post-9/11 rhetoric. But there's a dreamy fascination to the iconic images of machines fighting a perpetual war for the human creators they'll inevitably outlast.
    • 61 Metascore
    • 63 Maitland McDonagh
    While Kudlacek lets some of the elder statesmen ramble, their recollections are a vivid, firsthand window into a bygone era of American art.
    • 38 Metascore
    • 63 Maitland McDonagh
    Little Acuna -- who looks even younger than 11 -- gives a sweetly unaffected performance as the beleaguered child.
    • 57 Metascore
    • 63 Maitland McDonagh
    The mix of rollicking, family-friendly action and backwoods mysticism is odd, as is the story's progress from larky escapades to increasingly grim consequences, and Craven never quite manages to make it all seem a smoothly integrated piece.
    • 49 Metascore
    • 63 Maitland McDonagh
    The "cute" kids are insufferable, but leads Ali Khan and Mukerji radiate the unabashed star quality that's all but gone from American movies -- poverty and desperation haven't looked so glamorous since the glory days of Joan Crawford.
    • 44 Metascore
    • 63 Maitland McDonagh
    The younger actors bring varying degrees of experience to bear on their roles, but all capture the desperation beneath their characters' tough fronts, while the NYC locations are suitably depressing.
    • 71 Metascore
    • 63 Maitland McDonagh
    Cynical, misanthropic and embittered.
    • 54 Metascore
    • 63 Maitland McDonagh
    Amu
    Compelling on a personal level.
    • 69 Metascore
    • 63 Maitland McDonagh
    A painfully slow psychological thriller.
    • 46 Metascore
    • 63 Maitland McDonagh
    Biopic cliches hamstring producer-star Jennifer Lopez's pet project.
    • 68 Metascore
    • 63 Maitland McDonagh
    While it doesn't miss a cliche, it also invests every one with vigorous conviction.
    • 58 Metascore
    • 63 Maitland McDonagh
    While far from the cream of the mockumentary crop, it's still a pleasant diversion.
    • 52 Metascore
    • 63 Maitland McDonagh
    Based on the story of Milarepa (1043 - 1123), who renounced the violence and vengeance of his early life to become a revered Tibetan Buddhist saint, lama Neten Chokling's directing debut ends on a frustrating spiritual cliffhanger.
    • 44 Metascore
    • 63 Maitland McDonagh
    Light and sweet, comfort food dressed up with a dash of exotic spice.
    • 65 Metascore
    • 63 Maitland McDonagh
    Barnes, now in his seventies and relocated by the Witness Protection Program, is shot only in silhouette, but there's plenty of footage of him in his heyday, dressed to the pimpalicious nines and playing to the cameras like a movie star.
    • 54 Metascore
    • 63 Maitland McDonagh
    The film gets off to a slow start and runs long, but Gold and Helfand effectively stake out their own piece of a large and complicated issue.
    • 42 Metascore
    • 63 Maitland McDonagh
    This is pure big-budget formula filmmaking.
    • 40 Metascore
    • 63 Maitland McDonagh
    This ambitious independent feature eschews gore in favor of rubber-reality ambiguity.
    • 38 Metascore
    • 63 Maitland McDonagh
    Donnie Yen is famous for combining martial arts traditions into his own unique fighting style and Collin Chou, who studied with Sammo Hung, is up to the task of holding his own.
    • 67 Metascore
    • 63 Maitland McDonagh
    Katzir's documentary is as much a labor of love as Spaisman's theater, and it's often rough around the edges.
    • 58 Metascore
    • 63 Maitland McDonagh
    A snapshot rather than a sustained look at Meat Loaf's tumultuous life and career, Klein's film is a revealing glimpse at the late career of a performer who looked a safe bet to die before he got old, then surprised everyone by hanging on long enough to find fans who weren't born when he started out.
    • 47 Metascore
    • 63 Maitland McDonagh
    Seriously flawed and not for every taste, the film was shot quickly and on the cheap, and is driven by Argento's slurred, scratchy voice and Bette Davis eyes.
    • 43 Metascore
    • 63 Maitland McDonagh
    The unfortunate fact is that it's more than a little dull when it isn't preposterous.
    • 55 Metascore
    • 63 Maitland McDonagh
    B-movie stalwart Michael Madsen turns in a no-holds-barred, road-wreck performance in this nihilistic crime thriller, which plays out a variation on the old maxim that there's no honor among thieves -- even if they're cops.
    • 47 Metascore
    • 63 Maitland McDonagh
    It's dramatically unsatisfying.
    • tbd Metascore
    • 63 Maitland McDonagh
    Mukherjee's charm keeps the child-like Geeta from being thoroughly annoying, and the musical numbers are pleasant, if not particularly memorable.
    • 54 Metascore
    • 63 Maitland McDonagh
    A risky, not entirely successful comedy about mental disability, based on the novel by Sherwood Kiraly.
    • 57 Metascore
    • 63 Maitland McDonagh
    Rios is the glue that holds Johannesson's neither-fish-nor-fowl film together.
    • 45 Metascore
    • 63 Maitland McDonagh
    It's earnest, well-intentioned and scrupulously even-handed, in the style of made-for-TV problem movies.
    • tbd Metascore
    • 63 Maitland McDonagh
    Clearly a labor of love and a call to action, but it's undermined by the sheer volume of topics it tackles in addition to the main subject.
    • 53 Metascore
    • 60 Maitland McDonagh
    Rob Zombie's pitch-perfect evocation of '70s horror films about monstrous families and the unfortunates who cross their path is one of a handful of sequels that both improve on their sources and play perfectly as stand-alones.
    • 77 Metascore
    • 60 Maitland McDonagh
    A laser-sharp evocation of the tortured ties that bind sisters, who can love and loathe each other simultaneously and inflict lifelong wounds with chilling expertise.
    • 46 Metascore
    • 60 Maitland McDonagh
    Orenna, Thornton and Belton deliver strong, surprisingly subtle performances that make the modest fireworks genuinely engaging.
    • 57 Metascore
    • 60 Maitland McDonagh
    Delivers its commendable message with affecting eloquence.
    • 54 Metascore
    • 60 Maitland McDonagh
    A slicked up, perfectly watchable update of a movie that was just about perfect on its own bleakly seedy terms.
    • 61 Metascore
    • 60 Maitland McDonagh
    Viewers are left to draw their own conclusions, which inevitably will be colored by individual reactions to unabashed frontal nudity.
    • 71 Metascore
    • 60 Maitland McDonagh
    And if you never learn much about the man behind the mask, well, that's as Nomi would have wanted it.
    • 74 Metascore
    • 60 Maitland McDonagh
    It's a sly, subtle portrait of systematic hypocrisy.
    • 80 Metascore
    • 60 Maitland McDonagh
    Though Bittner's slacker charm may not be to all tastes, the parrots are natural-born scene-stealers with more than enough charm to seduce the most dubious viewer.
    • 76 Metascore
    • 60 Maitland McDonagh
    Given the dearth of outlets for short, noncommercial animation, fans of the form shouldn't miss this collection.
    • 44 Metascore
    • 60 Maitland McDonagh
    Its power lies in the intense, subtle performances of the ensemble cast and Bellott's ability to keep the tangled narrative threads from becoming a knotted mess.
    • 44 Metascore
    • 60 Maitland McDonagh
    This kind of gloomy razzle-dazzle isn't everyone's cup of mind-altering tea, but strong performances make it worth the effort to keep the time-tripping shenanigans straight until the surprisingly satisfying payoff.
    • 61 Metascore
    • 60 Maitland McDonagh
    The result, a dissection of the complicated dynamics of sexual and economic exploitation, is pitiless and occasionally inspired.
    • 66 Metascore
    • 60 Maitland McDonagh
    The sci-fi wonders, including an army of shuddering robo-soldiers and one-man, steam-powered bombers with delicate wood-and-linen wings, are truly marvelous and go a long way toward making up for the film's erratic pacing.
    • 79 Metascore
    • 60 Maitland McDonagh
    The multitalented Jaoui and Bacri excel on every level; her direction is efficient and unobtrusive, their script dissects the nuances of corruption by celebrity with a razor-sharp scalpel, and they deliver a pair of subtly unsparing performances.
    • 56 Metascore
    • 60 Maitland McDonagh
    If you're rooting for Barrymore and Fallon, then why not their team? In the movies, there are enough happy endings for everyone.
    • 78 Metascore
    • 60 Maitland McDonagh
    A giant leap forward in Stephen Chow's ongoing assault on Jackie Chan's status as reigning balletic clown-master of martial-arts mayhem, this extravagantly nutty crime comedy is a work of some kind of genius. Not everybody's kind of genius, to be sure.
    • 63 Metascore
    • 60 Maitland McDonagh
    If his ambitious first feature isn't entirely successful, it nevertheless poses genuinely provocative questions and opens a window into the way the 9/11 disaster looks from outside the U.S.
    • 70 Metascore
    • 60 Maitland McDonagh
    Less a history of a specialty that scarcely existed before the '70s -- men habitually donned wigs and dresses to double for women -- than a portrait of two women, one beginning her career and the other in the twilight of hers.
    • 49 Metascore
    • 60 Maitland McDonagh
    It's too fundamentally light-hearted to wallow in grinding poverty and despair.
    • 63 Metascore
    • 60 Maitland McDonagh
    Driven equally by big questions and the abiding desire for small pleasures, like a decent cup of tea, it's an eccentric, mind-bending head trip that greets every catastrophe with an endearingly goofy smile that embodies Hitchhiker's Guide's Zen mantra: Don't Panic!
    • 78 Metascore
    • 60 Maitland McDonagh
    The look is rough, but Bujalski's talent is evident.
    • 61 Metascore
    • 60 Maitland McDonagh
    Its appeal lies in the powerhouse performances delivered by Dench and Smith.
    • 72 Metascore
    • 60 Maitland McDonagh
    Genuinely gripping, balancing the travails of constructing the tunnel against the characters' stories with considerable skill.
    • 48 Metascore
    • 60 Maitland McDonagh
    No voice is more vivid than that of the writer of O, who died in 2002.
    • 73 Metascore
    • 60 Maitland McDonagh
    The result is so intoxicating, it hardly matters that you've heard it all before.
    • 72 Metascore
    • 60 Maitland McDonagh
    The last word on Haskell Wexler's career hasn't been spoken, but it's hard to imagine there's much more to say about him as a bad dad.
    • 59 Metascore
    • 60 Maitland McDonagh
    Davis' tough, man-of-the-people narration is often annoying, but his words can't diminish the power of his story.
    • 40 Metascore
    • 60 Maitland McDonagh
    Though it ultimately devolves into megabudget Hollywood action-movie cliches by way of John Woo, Lee's handsome blockbuster is an entertaining variation on the American formulas that have colonized world cinema.
    • 65 Metascore
    • 60 Maitland McDonagh
    Much of the film's appeal rests with Thai soap-opera actress Panyopas, whose bittersweet charm smoothes over the uglier aspects of Tum's spiral into crime.
    • 52 Metascore
    • 60 Maitland McDonagh
    In the end it's all seductive surface and no substance, but Lough has a bold eye and a vivid sense of uniquely urban beauty.
    • 65 Metascore
    • 60 Maitland McDonagh
    The film is simultaneously sweet natured and sharply observed, and if love eventually conquers all, it takes its own sweet time doing it.
    • 71 Metascore
    • 60 Maitland McDonagh
    This stunningly photographed documentary captures extraordinary images of ocean-based life.
    • 42 Metascore
    • 60 Maitland McDonagh
    The first two thirds of the screenplay by Aja and cowriter Gregory Levasseur is a relentless exercise in bare-bones nastiness.
    • 70 Metascore
    • 60 Maitland McDonagh
    The result is handsome and logical, but missing the spark that would make it thrilling.
    • 70 Metascore
    • 60 Maitland McDonagh
    MacKinnon's film draws on his past as a youth worker and features a standout performance from first-time performer Harry Eden.
    • 58 Metascore
    • 60 Maitland McDonagh
    A blockbuster hit in Korea, Park's feature debut is a beguiling mix of the generic and the unfamiliar, and it ends on a shot that's nothing short of heartbreaking.
    • 59 Metascore
    • 60 Maitland McDonagh
    Terrio keeps the multiple stories flowing smoothly, and the setting goes a long way to justify the web of fortuitous interconnections -- New York is the ultimate two-degrees-of-separation town.
    • 76 Metascore
    • 60 Maitland McDonagh
    The result is discomfiting, funny and oddly touching.
    • 57 Metascore
    • 60 Maitland McDonagh
    The story's message is less than profound, but it's vividly delivered.
    • 73 Metascore
    • 60 Maitland McDonagh
    It unfolds in the angst-haunted shadow of the 9'11 terror attacks and teeters on a thin edge of sheer panic.
    • 75 Metascore
    • 60 Maitland McDonagh
    It lacks "Fingers" searing, explosive vitality.
    • 63 Metascore
    • 60 Maitland McDonagh
    What distinguishes Cordero's film is his use of location.
    • 64 Metascore
    • 60 Maitland McDonagh
    Their subtle, complex performances could put far more experienced and better-known actors to shame.
    • 80 Metascore
    • 60 Maitland McDonagh
    This minimalist meditation on loneliness and loss is so spare and drained of color that it seems always on the verge of fading into invisibility.
    • 80 Metascore
    • 60 Maitland McDonagh
    Morrison brings an amazingly sure hand to MacLachlan's prickly screenplay.
    • 79 Metascore
    • 60 Maitland McDonagh
    The film ends on an ambiguous note that will infuriate some viewers and strike others as the only possible finale to Don's sad absurdist journey.
    • 51 Metascore
    • 60 Maitland McDonagh
    This wry, low-key comedy, crafted by members of the sketch-comedy group The State, swims defiantly against the stream of contemporary comedy, eschewing bodily-function jokes and obvious gags in favor of laughs so sly and self-effacing you could almost overlook them.
    • 39 Metascore
    • 60 Maitland McDonagh
    This small-scale film isn't for all tastes. But veterans of the dating wars will smirk uneasily at the film's nightmare versions of everyday sex-in-the-city misadventures.
    • 48 Metascore
    • 60 Maitland McDonagh
    The film deploys its disparate elements smartly, and director Hirotsugu Kawasaki can stage an action sequence with the best of them.
    • 51 Metascore
    • 60 Maitland McDonagh
    Like the fresh-faced leads, the film is an unexpected charmer.
    • 62 Metascore
    • 60 Maitland McDonagh
    Poignant documentary.
    • 55 Metascore
    • 60 Maitland McDonagh
    The movie's greatest liability is the familiarity of the material, much parodied since the glory days of John Ford. Unfortunately, Thornton's love for its iconography doesn't quite bring it to life.
    • 54 Metascore
    • 60 Maitland McDonagh
    Director Nancy Savoca's no-frills record of a show forged in still-raw emotions captures the unsettled tenor of that post 9-11 period far better than a more measured or polished production ever could.
    • 73 Metascore
    • 60 Maitland McDonagh
    Berlevag's 1300 inhabitants are by nature hardy and uncomplaining, but Knut Erik Jensen's unhurried documentary reveals that there's more to them than mere stoicism.
    • 64 Metascore
    • 60 Maitland McDonagh
    For anyone unfamiliar with pentacostal practices in general and theatrical phenomenon of Hell Houses in particular, it's an eye-opener.
    • 44 Metascore
    • 60 Maitland McDonagh
    It's vulgar, to be sure, but it's also brash and invigorating.
    • 63 Metascore
    • 60 Maitland McDonagh
    Overall, the film feels a little stiff, perhaps because screenwriter Steven Peros adapted his own stage play. But the performances are a delight, especially Dunst's effervescent turn as Marion Davies.
    • 23 Metascore
    • 60 Maitland McDonagh
    The result is sometimes strained, but often fresh and funny. And the sequence in which the entire cast sings "Avenues and Alleyways," bombastic '70s crooner Tony Christie's lush ode to thug life, is worth the price of admission in itself.
    • 40 Metascore
    • 60 Maitland McDonagh
    This slight slice of L.A. life is distinguished by two fine, subtle performances. Redgrave is quietly heartbreaking-- Penn accomplishes the daunting task of revealing the spine beneath Melanie's sweet-natured tolerance of her perpetually disagreeable husband.
    • 49 Metascore
    • 60 Maitland McDonagh
    There's a caper and there are some laughs, but this isn't a larky caper flick; it's a pulpy little story that could at any minute go straight to hell.
    • 34 Metascore
    • 60 Maitland McDonagh
    If not an entirely successful film, it's a bold and haunting one.
    • 62 Metascore
    • 60 Maitland McDonagh
    A funny, perceptive and seductively engaging movie.
    • 52 Metascore
    • 60 Maitland McDonagh
    While the film's exploration of Irish religious intolerance takes it to many familiar areas, the specifics are unfamiliar and fine performances -- especially those of leads Cunningham and Brady.
    • 49 Metascore
    • 60 Maitland McDonagh
    Screenwriter Matthew Tabak's directing debut is carefully plotted, well acted and surprisingly free of cheap thrills.
    • 58 Metascore
    • 60 Maitland McDonagh
    While this cheerful film has nothing particularly new to say about the ties that hold family members together even when they're driving each other crazy, it's a pleasure to watch such a talented ensemble at work.
    • 41 Metascore
    • 60 Maitland McDonagh
    Neither a conventional documentary nor a work of complete fiction, Hammer's film constructs a secret history, part imagination and part reality that is both revealing and slyly entertaining.
    • 41 Metascore
    • 60 Maitland McDonagh
    Breezy and eminently watchable.
    • 70 Metascore
    • 60 Maitland McDonagh
    By trying to be both a portrait of Rijker and an introduction to women's boxing, it shortchanges both subjects.
    • 43 Metascore
    • 60 Maitland McDonagh
    Things take an unexpected turn into far grimmer territory when the wormy Robert finally turns.
    • 61 Metascore
    • 60 Maitland McDonagh
    This otherwise sober film's high ick factor is clearly designed to convince restless students that entomology is extremely cool.
    • 50 Metascore
    • 60 Maitland McDonagh
    Beautifully animated epic is never dull.
    • 48 Metascore
    • 60 Maitland McDonagh
    Actress-turned-writer/director Asia Argento's angry, outspoken, semi-autobiographical rant of a film is strident and occasionally juvenile, but it packs an undeniable wallop.
    • 75 Metascore
    • 60 Maitland McDonagh
    The result is a snazzy kick -- it's never less than hugely entertaining -- that should in no way be mistaken for an unbiased account. But then, Evans is the quintessential Hollywood character.
    • 73 Metascore
    • 60 Maitland McDonagh
    Vividly photographed in shimmering colors and driven by a propulsive score.
    • 71 Metascore
    • 60 Maitland McDonagh
    A lovely homage to a charismatic star.
    • 71 Metascore
    • 60 Maitland McDonagh
    The plot isn't what makes this movie worth watching anyway -- it's the performances and the ambiance.
    • 62 Metascore
    • 60 Maitland McDonagh
    The film's a trifle, but a beautifully crafted one.
    • 46 Metascore
    • 60 Maitland McDonagh
    It's hard not to be charmed by scenes like the one in which Briggs gives his posies a little pep talk, assuring them that just because they sprouted behind prison walls doesn't mean they can't compete with those hoity-toity flowers at Hampton Court.
    • 74 Metascore
    • 60 Maitland McDonagh
    This psychological thriller takes its time and never delivers the big shocks genre fans raised on its American cousins have come to expect. But it works up a chilly atmosphere of creeping dread, and the tension.
    • 68 Metascore
    • 60 Maitland McDonagh
    Beautifully edited and, appropriately, the sound is unusually well recorded and produced.
    • 60 Metascore
    • 60 Maitland McDonagh
    This DIY oddity is both quirkily funny and strangely poignant, and does justice to the same themes that underlie the far more lavishly produced "A.I.: Artificial Intelligence."
    • 46 Metascore
    • 60 Maitland McDonagh
    Atkinson's painfully unfunny turn as an insensitive gynecologist is eclipsed by Hollander's scathingly funny portrayal of belligerent auteur Proclaimer, whose wears his pretenses with such scabby aplomb that they achieve high style.
    • 50 Metascore
    • 60 Maitland McDonagh
    It's a bad sign when audience enthusiasm peaks during the credits sequence.
    • 61 Metascore
    • 60 Maitland McDonagh
    Sad, leisurely road picture.
    • 49 Metascore
    • 60 Maitland McDonagh
    Making such a tragedy the backdrop to a love story risks trivializing it, though Chouraqui no doubt intended the film to affirm love's power to help people endure almost unimaginable horror.
    • 48 Metascore
    • 60 Maitland McDonagh
    Watching Sarandon and Hawn sashay through their paces is its own reward.
    • 47 Metascore
    • 60 Maitland McDonagh
    The backgrounds are handsome and moody, and the character animation is less distractingly cartoonish than that of films like the otherwise breathtaking Metropolis (2001).
    • 59 Metascore
    • 60 Maitland McDonagh
    Imagine "Hansel and Gretel" by way of "The Texas Chainsaw Massacre."
    • 73 Metascore
    • 60 Maitland McDonagh
    The whole thing has the air of a parlor trick, but it's a good trick, beautifully acted.
    • 56 Metascore
    • 60 Maitland McDonagh
    Shattering in its own quiet way.
    • 40 Metascore
    • 60 Maitland McDonagh
    A fairly serious psychodrama rendered in cartoon images.
    • 44 Metascore
    • 60 Maitland McDonagh
    Overall it's a frustratingly uneven movie, delicate at one moment and bluntly obvious the next.
    • 58 Metascore
    • 60 Maitland McDonagh
    The film's tone is a matter of taste -- the more you enjoy the melancholy silent comedies of Keaton, Charlie Chaplin and Harold Lloyd, the more likely you are to embrace its sensibility -- but it's undeniably the product of a singular and beautifully realized vision.
    • 72 Metascore
    • 60 Maitland McDonagh
    It's amusing more often than it isn't, largely because the cast is so nonchalant and, well, French about everything.
    • 52 Metascore
    • 60 Maitland McDonagh
    Resembles the giggly teen romances that saturate the Japanese market with a coolly alienated French twist.
    • 49 Metascore
    • 60 Maitland McDonagh
    Since her claim to fame is having brought the first living panda -- a cub named Su Lin -- out of China, Harkness's success is a given, but the footage of pandas in their natural surroundings is enchanting.
    • 44 Metascore
    • 60 Maitland McDonagh
    Though clearly shot on a shoestring, it's handsome, tightly written and generally well acted.
    • 51 Metascore
    • 60 Maitland McDonagh
    Kidman accomplishes a remarkable feat of transformation, adopting not only an accent, but a slightly seedy, faintly feral demeanor that almost makes you forget her icy good looks and fashion model's figure.
    • 52 Metascore
    • 60 Maitland McDonagh
    Beneath the plot's romantic turns lies a surprisingly complex examination of the personal and professional price of honesty; falsehoods, half-truths, little white lies and self-delusion spur most of the key plot developments, and Roos never resorts to platitudes to account for their effects.
    • 56 Metascore
    • 60 Maitland McDonagh
    CQ
    A triumph of art direction over narrative, but what art direction!
    • 37 Metascore
    • 60 Maitland McDonagh
    Hopkins and Rock are a surprisingly good mix; Hopkins actually underplays his role as a company man with a barely acknowledged conscience, while Rock's manic impulses aren't allowed to run riot.
    • 67 Metascore
    • 60 Maitland McDonagh
    Its high-definition video images -- are coated with a convincing sheen of disgust, and Huston's performance is riveting.
    • 55 Metascore
    • 60 Maitland McDonagh
    Lavishly costumed and shot largely on location, the film benefits from a phenomenal central performance by Lopez de Ayala.
    • 67 Metascore
    • 60 Maitland McDonagh
    Slight and whimsical.
    • 36 Metascore
    • 60 Maitland McDonagh
    Features generally crisp dialogue, solid performances by a mix of newcomers and familiar character actors, and Provenzano's direction is strikingly accomplished.
    • 59 Metascore
    • 60 Maitland McDonagh
    Dense collage of digitally altered images often looks shockingly like some super-hip media agency's show reel.
    • 78 Metascore
    • 60 Maitland McDonagh
    Though overlong and repetitive, Hirsch's film is vitalized by the same music that helped keep the revolutionary spirit alive.
    • 49 Metascore
    • 60 Maitland McDonagh
    For most of its running time, this lunatic euro-thriller is creepy, stylish and occasionally suspenseful.
    • 52 Metascore
    • 60 Maitland McDonagh
    The creepy set pieces are repetitive and the payoff is rather unsatisfying, even though the prophecies do eventually pan out.
    • 81 Metascore
    • 60 Maitland McDonagh
    On the downside, it's slackly edited -- comedy is, after all, all about timing and there are way too many lengthy shots of Cho waiting for her audience to respond.
    • 37 Metascore
    • 60 Maitland McDonagh
    Chilly, muted and refreshingly free of cheap shocks, this stylish psychological horror tale is greatly enhanced by subtle (acting) performances.
    • 33 Metascore
    • 60 Maitland McDonagh
    Ridiculous, yes, but in an eminently watchable way. Most of the plot twists work surprisingly well, and the frequently naked leads work up some genuine chemistry.
    • 41 Metascore
    • 60 Maitland McDonagh
    The chaotic, brutal iconography of Italian Westerns is put to novel use in this time-traveling, self-referential, hugely ambitious story of American brothers.
    • 61 Metascore
    • 60 Maitland McDonagh
    The story is less a sustained narrative than a series of scenes. But personal dynamics are the main event, and McDormand's powerhouse performance alone compensates for many minor deficiencies.
    • 57 Metascore
    • 60 Maitland McDonagh
    Winslet and Keitel are perfectly matched, go-for-broke actors handed dramatic license to do a psychic striptease.
    • tbd Metascore
    • 60 Maitland McDonagh
    Merits watching if only because it's a bracing corrective to the deeply entrenched image of Europe's Jews plodding, sheep-like, to their deaths in Nazi concentration camps.
    • 40 Metascore
    • 60 Maitland McDonagh
    The costumes are phenomenal, the set design ravishing and the sadistic inventiveness extraordinary.
    • 74 Metascore
    • 60 Maitland McDonagh
    The material is inherently compelling and anchored by Washington's performance.
    • 44 Metascore
    • 60 Maitland McDonagh
    The film is graphic without being lurid, and the naked emotions onscreen are far more shocking than the naked bodies -- though there are plenty of those, in all shapes and sizes.
    • 60 Metascore
    • 60 Maitland McDonagh
    So crammed with plot twists that it's hard to follow, simultaneously ludicrous, sappy and casually dismissive of all the things Hollywood holds dear.
    • 36 Metascore
    • 60 Maitland McDonagh
    Fresh-faced leads Muniz and Bynes are charmers, Giamatti makes Wolf into a splendidly loathsome adversary, and the film is refreshingly free of bodily function jokes.
    • 64 Metascore
    • 60 Maitland McDonagh
    The unspoken question that underlies their struggles is whether a facility run by sheer force of personality can survive when that personality is gone; the film ends on a cautiously hopeful note.
    • 79 Metascore
    • 60 Maitland McDonagh
    Caustic and despairing, Shrader's film lacks the delicate beauty of Atom Agoyan's "Sweet Hereafter," but has just as much bitter power.
    • 49 Metascore
    • 60 Maitland McDonagh
    Though filmmaker Nina Gilden Seavy followed Bering Strait for the better part of two years, their story is in no way over at the film's conclusion.
    • 64 Metascore
    • 60 Maitland McDonagh
    AKA
    Subtle performances and the "you are there" immediacy conferred by digital video give Roy's film the feel of a series of stolen moments.
    • 70 Metascore
    • 60 Maitland McDonagh
    Hugely entertaining.
    • 37 Metascore
    • 60 Maitland McDonagh
    The plot's preposterous and Affleck is way too callow for a role that would have fit Robert Mitchum like a second-hand suit.
    • 62 Metascore
    • 60 Maitland McDonagh
    It's straightforwardly entertaining and a genuine nail-biter.
    • 33 Metascore
    • 60 Maitland McDonagh
    Though beautifully acted by Basinger (everyone else is relegated to a supporting role), there's a strange vagueness to much of this sumptuous, stunningly photographed melodrama.
    • 71 Metascore
    • 60 Maitland McDonagh
    The action is confined to a single set and atmosphere is appropriately claustrophobic, but the image quality is harsh and flat. This accentuates the oppressive meanness of Vince's hotel room, but makes for some unpleasant viewing.
    • 70 Metascore
    • 60 Maitland McDonagh
    The performance sequences are in color, while the recording sequences are in B&W. Jacquot's strategy allows his cast the benefit of being able to give full performances (Raimondi is a particularly good film actor) while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself.
    • 53 Metascore
    • 60 Maitland McDonagh
    A breezy romantic comedy in which opposites attract against all the reasonable odds, this slight but thoroughly charming film benefits immeasurably from the assured performances of leads Juliette Binoche and Jean Reno.
    • 53 Metascore
    • 60 Maitland McDonagh
    Their dilemmas are the stuff of dozens of Masterpiece Theater productions, but they're brought to life with a vividness that defies changing mores and cuts to the heart of the ways people justify hurting each other in the name of love.
    • 51 Metascore
    • 60 Maitland McDonagh
    Do director Bryan Singer and screenwriter Brandon Boyce really mean to suggest that the roots of genocide lie in homosexual desire?
    • 46 Metascore
    • 60 Maitland McDonagh
    Nasty fun all around.
    • 54 Metascore
    • 60 Maitland McDonagh
    Richly atmospheric but a little thin in the character department: It feels oddly truncated, despite nicely textured performances.
    • 60 Metascore
    • 60 Maitland McDonagh
    It's actually sharper, less reverential and generally better than "Misson: Impossible."
    • 80 Metascore
    • 60 Maitland McDonagh
    Comprehensive and reverential.
    • 69 Metascore
    • 60 Maitland McDonagh
    Dialogue is kept to a bare minimum, but the film's complex underlying sound mix -- a subtle symphony of faintly heard voices and the muted sounds of cars -- adds a haunting texture to what could have been the slightest of stories about a woman's ephemeral victory over emotional numbness.
    • 65 Metascore
    • 60 Maitland McDonagh
    The film delivers what it promises: A look at the "wild ride" that ensues when brash young men set out to conquer the online world with laptops, cell phones and sketchy business plans.
    • 48 Metascore
    • 60 Maitland McDonagh
    Goofy and inconsequential, but pretty damned cute.
    • 60 Metascore
    • 60 Maitland McDonagh
    First-time feature filmmaker Oliver Hirschbiegel maintains a riveting sense of simmering brutality.
    • 65 Metascore
    • 60 Maitland McDonagh
    This loving parody is steeped in comic book trivia and lore: The more you know, the more heartfelt your response to the film is likely to be.
    • 56 Metascore
    • 60 Maitland McDonagh
    The payoff doesn't quite equal the intensity of the spectacularly squirm-inducing premise, but Farrell takes his showboating star turn and runs with it.
    • 66 Metascore
    • 60 Maitland McDonagh
    Solidly entertaining and surprisingly free of the Mamet-isms that can suck the life right out of the most tightly crafted story.
    • 64 Metascore
    • 60 Maitland McDonagh
    The harder you try to follow the narrative the more frustrating the film becomes, but its sleekly menacing images work their way into your brain like slivers of dry ice.
    • 43 Metascore
    • 60 Maitland McDonagh
    An uneasy mix of B-movie scares.
    • 83 Metascore
    • 60 Maitland McDonagh
    This rambling exercise in local color has been a pet project of Duvall's for more than a decade, and it's to his credit that he managed to get such a low-concept picture produced. It's also to his credit that he resists the temptation to take easy potshots at religion, particularly of the revivalist variety.
    • 56 Metascore
    • 60 Maitland McDonagh
    The brouhaha aside, this chronicle of SNAFUs foretold doesn't have much new to say but says it with biting precision, and Phoenix's sharp, sneakily sympathetic performance is a pleasure to watch.
    • 57 Metascore
    • 60 Maitland McDonagh
    It's Jagger's bone-dry, mournfully brittle delivery that gives the film its bittersweet bite. Michael Des Barres and Anjelica Huston make the most of their supporting roles.
    • 35 Metascore
    • 60 Maitland McDonagh
    Tthough it comes wrapped in a stylish French mantle of feminist rage and sexual empowerment, the picture ultimately belongs squarely in the tradition of rape revenge pictures.
    • 76 Metascore
    • 60 Maitland McDonagh
    Arteta wrings some laughs from their bizarre (and more than a little frightening situation), but they're uncomfortable laughs, emotional protection from the freak show.
    • 36 Metascore
    • 60 Maitland McDonagh
    A spectacular natural disaster spiraling out of control, a crime gone wrong and a poor jerk caught in the middle: Yes, it's a standard action-picture recipe. But what a difference a cast makes.
    • 66 Metascore
    • 60 Maitland McDonagh
    Picking up some 10 years after the previous film left off, this stripped-down, intelligently conceived follow-up is a respectable conclusion to the Terminator trilogy.
    • 52 Metascore
    • 60 Maitland McDonagh
    The story is shallow stuff, but pretty entertaining until it becomes utterly preposterous.
    • 72 Metascore
    • 60 Maitland McDonagh
    It's enjoyable poppycock.
    • 52 Metascore
    • 60 Maitland McDonagh
    This efficient fright machine features a knowing cameo by Curtis's mom -- "Psycho's" Janet Leigh -- a couple of bloody good scares and a genuinely affecting performance from Curtis.
    • 75 Metascore
    • 60 Maitland McDonagh
    Rather than rage, Peosay's film radiates sadness over a singular way of life in danger of imminent obliteration.
    • 44 Metascore
    • 60 Maitland McDonagh
    Boursinhac and Bibi Naceri throw all the usual elements into the pot: Economic inequality, ethnic tensions, feverish family ties and the titular criminal code, which everyone invokes and everyone agrees is a load of claptrap.
    • 51 Metascore
    • 60 Maitland McDonagh
    A military satire in the tradition of M*A*S*H and Catch-22, based on Peruvian novelist Mario Vargas Llosa's 1973 book.
    • 81 Metascore
    • 60 Maitland McDonagh
    This is a film worth seeing, and LaBute is a filmmaker well worth watching.
    • 75 Metascore
    • 60 Maitland McDonagh
    Despite its leisurely pace, this unpretentious, character-driven picture is a low-key charmer.
    • 59 Metascore
    • 60 Maitland McDonagh
    Adventurous viewers will find this unusual genre hybrid an intriguing experience, and Donnie Yen's fight choreography is breathtaking.
    • 60 Metascore
    • 60 Maitland McDonagh
    The film's saddest contention is that five decades later American public schools remain economically segregated by economics, which too often produces classrooms whose complexions have changed little since the pre-Brown era.
    • 75 Metascore
    • 60 Maitland McDonagh
    The story of the business is historically interesting, but the story of a friendship tested to the breaking point is timeless.
    • tbd Metascore
    • 60 Maitland McDonagh
    This potent drama might be dismissed as therapy in the guise of filmmaking if it weren't so clear-eyed. At its core are three remarkable performances.
    • 90 Metascore
    • 60 Maitland McDonagh
    Director Curtis Hanson keeps the hugely complicated story zooming along the boulevard of broken dreams without losing sight of the details that make the trip worthwhile.
    • 66 Metascore
    • 60 Maitland McDonagh
    Sleek, stylish and crammed with girl-power action.
    • 57 Metascore
    • 60 Maitland McDonagh
    That director and co-writer Gurinder Chadha transforms this sitcom material into a lively and charming film about the melting pot at full boil probably owes something to the fact that her own multicultural bona fides are firmly in order.
    • 64 Metascore
    • 60 Maitland McDonagh
    Paxton is impressively subtle and elicits remarkable performances from O'Leary and Sumpter.
    • 71 Metascore
    • 60 Maitland McDonagh
    Extravagant special effects notwithstanding, this is really a triumph of casting: The aplomb with which Jones plays wry straight man to Smith's street-smart wiseacre is terrifically enjoyable.
    • 74 Metascore
    • 60 Maitland McDonagh
    The film should be required viewing for all aspiring filmmakers, but the story's road-accident appeal is universal.
    • 63 Metascore
    • 60 Maitland McDonagh
    Smith's beautifully observed story of two young women learning how cruel and calculating the world -- and they -- can be is beautifully realized, and Garai stands out among a fine ensemble cast.
    • 59 Metascore
    • 60 Maitland McDonagh
    The cast — a felicitous blend of character actors and up-and-comers — work together like a street-smart machine, and Hoffman's scummy turn as porn-peddler and all-around creep King is a reminder of just how sleazily funny he can be.
    • 75 Metascore
    • 60 Maitland McDonagh
    The look is utterly faithful to Tezuka's aesthetic -- he loved classic Disney animation, especially "Bambi" (1942) -- but it's hard to empathize with the angst of a character who looks like a Super Mario Brother.
    • 57 Metascore
    • 60 Maitland McDonagh
    Would be as tedious as a home movie if the couple, Edward DeBonis and Vincent Maniscalco, weren't gay men and their nuptials not colored by the clash between their personal faith and their rejection by the mainstream church.
    • 78 Metascore
    • 60 Maitland McDonagh
    Nolan's intention was clearly to cast the material in a more conventional Hollywood mold without turning it into namby-pamby nonsense, and he succeeds admirably.