Manohla Dargis

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For 1,863 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Land of the Dead
Lowest review score: 0 The Boy in the Striped Pajamas
Score distribution:
1863 movie reviews
    • 73 Metascore
    • 30 Manohla Dargis
    The mousetrap setup and tight fight spaces, the bad blood and cruel deaths - soon makes the movie grindingly monotonous, a blur of thudding body blows.
    • 68 Metascore
    • 60 Manohla Dargis
    Again and again Katniss rescues herself with resourcefulness, guts and true aim, a combination that makes her insistently watchable, despite Mr. Ross's soft touch and Ms. Lawrence's bland performance.
    • 87 Metascore
    • 100 Manohla Dargis
    A quietly rapturous film about love and redemption.
    • 52 Metascore
    • 50 Manohla Dargis
    A quick-sketch routine stretched - amusingly, absurdly, thinly - to feature length.
    • 53 Metascore
    • 50 Manohla Dargis
    For every few jokes that hit in this story about a recession-battered New York couple finding themselves on a Georgia commune, one sputters and dies.
    • 66 Metascore
    • 50 Manohla Dargis
    An alternately effortless and forced French-language diversion.
    • 73 Metascore
    • 50 Manohla Dargis
    Frustratingly, though, perhaps because he is an outsider and was concerned about appearing biased about another culture, about all that Mr. Marston does is chew on this clash, as if the repeated images of teenagers talking on cellphones next to a horse-drawn cart were a substitute for a strong filmmaking point of view.
    • 71 Metascore
    • 80 Manohla Dargis
    While Undefeated travels well-tilled inspirational ground, it's also an irresistible story of football, faith and the lust for happily-ever-after black-and-white endings.
    • 31 Metascore
    • 50 Manohla Dargis
    Perfectly acceptable watched on the back of an airline seat or at home while you're doing housework.
    • 80 Metascore
    • 90 Manohla Dargis
    What the studio does, brilliantly, is preserve a hand-drawn look and feel in its work, as in the exteriors in The Secret World, where the characters pop against a painterly meadow.
    • 69 Metascore
    • 70 Manohla Dargis
    Mr. DeHaan, whose vulnerability and physical awkwardness here can evoke the young Leonardo DiCaprio in "What's Eating Gilbert Grape," is invaluable. Mr. Russell and Mr. Jordan are as likable as their characters, but it's Mr. DeHaan who pulls you uneasily in.
    • 52 Metascore
    • 70 Manohla Dargis
    Essentially and very effectively a rollicking smash-and-crash chase movie that happens to be surprisingly well acted.
    • 76 Metascore
    • 70 Manohla Dargis
    An elegant, elegiac found-footage work from Bill Morrison, best known for his silent-film reverie "Decasia."
    • 37 Metascore
    • 40 Manohla Dargis
    The upshot is that instead of a film about a love that conquered a king and nearly undid a kingdom, Madonna has come up with a female friendship movie, which would be fine if she weren't busy trying to prove her art-film bona fides.
    • 62 Metascore
    • 70 Manohla Dargis
    Less gore is more here, and what a relief. The Woman in Black isn't especially scary, but it keeps you on edge, and without the usual vivisectionist imagery.
    • 80 Metascore
    • 100 Manohla Dargis
    A first-rate art-house thriller, Miss Bala tells the strange, seemingly impossible story of a Mexican beauty queen who becomes the accidental pawn of a drug cartel. It's an adventure story that could be called a contemporary picaresque if it weren't so deadly serious.
    • 35 Metascore
    • 50 Manohla Dargis
    There are a couple of movies, or rather a couple of story ideas, tucked in Loosies, an amorphous, laugh-flecked drama about a New York City pickpocket that mostly comes across as a feature-length advertisement for its likable star and writer, Peter Facinelli.
    • 73 Metascore
    • 90 Manohla Dargis
    The revelations keep coming in Sing Your Song and it's hard not to go googly eyed when, for a 1963 CBS special, you see Mr. Belafonte discussing the march on Washington with some fellow marchers, Mr. Poitier, Marlon Brando, James Baldwin, Charlton Heston and the film director Joseph L. Mankiewicz.
    • 51 Metascore
    • 60 Manohla Dargis
    The absurdity of the story in the largely thrill-free thriller Contraband, its hairpin twists and outrageous coincidences, may keep even hungry action fans away. That's too bad because the story doesn't matter. (It rarely does.)
    • 18 Metascore
    • 20 Manohla Dargis
    The scariest thing about The Devil Inside is that a major studio like Paramount Pictures, which is distributing it, may be able to squeeze more profit out of a tedious, tediously exhausted subgenre that was already creatively tapped out when "The Blair Witch Project" spooked audiences more than a decade ago.
    • 61 Metascore
    • 60 Manohla Dargis
    One problem is Jimmy and his mother's dialogue, which continues in the same clichéd vein as the opening scenes of him alone yelling and yammering into his cell.
    • 82 Metascore
    • 90 Manohla Dargis
    A metaphysical road movie about life, death and the limits of knowledge, Once Upon a Time in Anatolia has arrived just in time to cure the adult filmgoer blues.
    • 56 Metascore
    • 70 Manohla Dargis
    Both Ms. Marjanovic and Mr. Kostic are very fine (like the rest of the cast they deliver their dialogue in Bosnian) and they navigate the contradictions of their characters' feelings, the flashes of hate, the surrender to desire, with delicacy.
    • 58 Metascore
    • 60 Manohla Dargis
    Whatever the case, you may not buy his happy endings, but it's a seductive ideal when all of God's creatures, great and small, buxom and blond, exist in such harmony.
    • 46 Metascore
    • 40 Manohla Dargis
    Yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
    • 68 Metascore
    • 50 Manohla Dargis
    Like the screen Tintin, the movie proves less than inviting because it's been so wildly overworked: there is hardly a moment of downtime, a chance to catch your breath or contemplate the tension between the animated Expressionism and the photo-realist flourishes.
    • 73 Metascore
    • 70 Manohla Dargis
    Gets back to action basics with globe-trotting, nifty gadgets, high-flying stunts and less loquacious villainy.
    • 54 Metascore
    • 60 Manohla Dargis
    Mr. Mekas makes little attempt to smooth out his transitions between takes or scenes, which only reinforces the intensely personal, even handmade nature of the work.
    • 65 Metascore
    • 60 Manohla Dargis
    While it's frustrating that Mr. Palmer doesn't dig deep into the complexities of the fights, one of the movie's strengths is the honesty with which he confesses his doubts about them.
    • 39 Metascore
    • 50 Manohla Dargis
    Some of it, though, is absurdly comic, like the shot of a guy on a Segway that exists for no reason other than that someone here thought the movie could use a small laugh right then. It did. It could use more.
    • 85 Metascore
    • 90 Manohla Dargis
    A pleasurably sly and involving puzzler - a mystery about mysteries within mysteries.
    • 70 Metascore
    • 90 Manohla Dargis
    A rush of a movie from South Korea that slips and slides from horror to humor on rivers of blood and offers the haunting image of a man, primitive incarnate, beating other men with an enormous, gnawed-over meat bone.
    • 67 Metascore
    • 70 Manohla Dargis
    Not everything is as elegantly executed, including a tiresome, would-be comic subplot involving an African diplomat and a clandestine casino that drags the story down badly and comes close to noxious racial stereotype.
    • 79 Metascore
    • 80 Manohla Dargis
    Then too there's the sheer pleasure of hearing these words spoken by an actor like Mr. Fiennes, whose phrasing is so brilliant, you might be tempted to close your eyes if his physical performance weren't equally mesmerizing.
    • 70 Metascore
    • 70 Manohla Dargis
    A sun-scorched noir, Rampart tells a familiar story with such visual punch and hustling energy that it comes close to feeling like a new kind of movie, though it's more just a tough gloss on American crime stories past.
    • 83 Metascore
    • 90 Manohla Dargis
    Waves of melancholy wash over the story and keep the treacle at bay, as do the spasms of broad comedy, much of it nimbly executed by Mr. Baron Cohen.
    • 65 Metascore
    • 50 Manohla Dargis
    Ms. Williams tries her best, and sometimes that's almost enough.
    • 50 Metascore
    • 50 Manohla Dargis
    An amiable sequel with not much on its mind other than funny and creaky jokes, and waves of understated beauty.
    • 45 Metascore
    • 70 Manohla Dargis
    The latest and best of the movies about a girl, her vampire and their impossible, ridiculously appealing - yes, I surrendered - love story.
    • 74 Metascore
    • 70 Manohla Dargis
    The story that emerges is programmatic and largely unsurprising, but these children give it messiness, joy and life.
    • 66 Metascore
    • 90 Manohla Dargis
    The woman in Christopher Munch's lovely, delightfully idiosyncratic Letters From the Big Man, resplendent with its own dense forests and cloudy Oregon days, has already fallen to earth and is looking for a way back up or maybe just forward. She gets help from a sasquatch.
    • 59 Metascore
    • 80 Manohla Dargis
    Mr. Eastwood doesn't just shift between Hoover's past and present, his intimate life and popular persona, he also puts them into dialectic play, showing repeatedly how each informed the other.
    • 67 Metascore
    • 70 Manohla Dargis
    Although there's more romance in "Buck," a classic American survivor story in the triumphant individual vein, in Pianomania the very dry, very accomplished Mr. Knüpfer makes engaging company both because he keeps enviable company and because he's a full-on geek, though one possessed by pianos.
    • 64 Metascore
    • 70 Manohla Dargis
    Mr. Maggio's strengths here are his people (not their stories), a sense of intimacy and textured place rather than the generic hoops he forces the characters to jump through.
    • 53 Metascore
    • 60 Manohla Dargis
    The tick tick tock of the mortal clock gives the science-fiction thriller In Time its slick, sweet premise.
    • 68 Metascore
    • 50 Manohla Dargis
    Largely a conventional, wan affair, despite its art-cinema flourishes.
    • 34 Metascore
    • 40 Manohla Dargis
    Mr. Lee gathers together a lifetime of hurt without conveying that there's something personal at stake.
    • 70 Metascore
    • 90 Manohla Dargis
    There are several genres nimbly folded into The Skin I Live In, which might also be described as an existential mystery, a melodramatic thriller, a medical horror film or just a polymorphous extravaganza. In other words, it's an Almodóvar movie with all the attendant gifts that implies: lapidary technique, calculated perversity, intelligent wit.
    • 52 Metascore
    • 60 Manohla Dargis
    Lighter than a meringue and as insubstantial, the French boulevard comedy The Women on the 6th Floor was designed for the gentle laughter it easily earns.
    • 78 Metascore
    • 90 Manohla Dargis
    The world of My Joy is grim, though the experience of watching it and piecing together its fragmented story strands is anything but. It's suspenseful, mysterious, at times bitterly funny, consistently moving and filled with images of a Russia haunted both by ghosts and the living dead.
    • 72 Metascore
    • 50 Manohla Dargis
    A feel-good and slightly bad comedy-drama about a young man's fight against cancer, aims to put a tear in your eye and a sob in your throat, if not for long.
    • 44 Metascore
    • 20 Manohla Dargis
    Whatever the case, Mr. Owen and Mr. Statham (who provides a nice duet with a chair) make a prettily matched pair amid the pileup of sub-Bourne action set pieces, sad laughs and clichés.
    • 87 Metascore
    • 100 Manohla Dargis
    It's hard to imagine anyone but Mr. Pitt in the role. He's relaxed yet edgy and sometimes unsettling.
    • 50 Metascore
    • 50 Manohla Dargis
    Shot in handsome, often vividly contrasting black and white, "____ Year" weighs in as an attempt at poetic expressionism, a bid to create a visual representation of Colleen's diffuse and fragmented mind. Mr. Archer's narrative ambitions are laudable, and some of his images (the cinematographer is Aaron Platt) are striking, though a lot of scenes also look like glossy fashion magazine layouts come to relative life. These poses and pretty rooms may accurately reflect Colleen's visual aesthetic, the world she inhabits or wants to, but whether hers or Mr. Archer's, it's not compelling.
    • 87 Metascore
    • 90 Manohla Dargis
    In many respects Ceausescu turns out to be as much the author of this brilliant documentary as the director, Andrei Ujica, who waded through more than 1,000 hours of filmed state propaganda, official news reports and home movies to create a cinematic tour de force that tracks the rise, reign and grim fall of its subject.
    • 70 Metascore
    • 80 Manohla Dargis
    Soderbergh's smart, spooky thriller about a thicket of contemporary plagues - a killer virus, rampaging fear, an unscrupulous blogger - is as ruthlessly effective as the malady at its cool, cool center.
    • 71 Metascore
    • 70 Manohla Dargis
    Nannerl, the subject of at least three novels also titled "Mozart's Sister," is in this film meant to be something more than a chapter in her brother's biography though it's not exactly clear what. Somewhat frustratingly if reasonably, Mr. Féret never settles on whether she was a genius, a martyr, a feminist cause, a disappointed daughter, a resigned woman or all of the above.
    • 49 Metascore
    • 70 Manohla Dargis
    Mr. Kwanten, meanwhile, best known for playing the sweet, dim Jason Stackhouse on the HBO show "True Blood," gives Griff the delicate, ethereal affect of a man who's an alien in his own world except when he's running down an alley in a disguise. He's a pleasure to watch.
    • 36 Metascore
    • 50 Manohla Dargis
    Mr. Momoa has some awfully big biceps to fill. He rises to that task with a pumped physique made for ogling. Thankfully, he also shows glints of self-awareness that can make hypermasculine blowouts like these more watchable and were largely missing from Mr. Schwarzenegger's wide-eyed turn in the first "Conan the Barbarian" (1982).
    • 49 Metascore
    • 30 Manohla Dargis
    If you tune out the dialogue, which is packed with raunch that has neither rhyme nor story reason, there are passable moments. The interludes of Nick shifting gears as he tries to beat the clock on another pizza run are nicely managed and say something about a character whose talent behind the wheel is a kind of grace note.
    • 66 Metascore
    • 60 Manohla Dargis
    The camera movements are graceful, almost ethereal, yet the objects themselves - with their impastos of organic and inorganic materials, their metaphoric resonances, historical allusions and intimations of war - feel unmistakably weighty.
    • 62 Metascore
    • 60 Manohla Dargis
    Save for Ms. Davis's, however, the performances are almost all overly broad, sometimes excruciatingly so, characterized by loud laughs, bugging eyes and pumping limbs.
    • 82 Metascore
    • 80 Manohla Dargis
    Made for European television and originally divided into six one-hour episodes, the movie now runs an absorbing, astonishingly fast four and a quarter hours.
    • 72 Metascore
    • 80 Manohla Dargis
    There's more here than initially meets and sometimes assaults the eye, including the hyperbolic dudeness of it all.
    • 68 Metascore
    • 70 Manohla Dargis
    It's good, canny-dumb fun.
    • 78 Metascore
    • 70 Manohla Dargis
    There's a story, in case you're looking for one, though it's almost an afterthought, just the thin glue holding everything together, including the fine cast, the sense of broody place and the fatalism that seems to come with it. Mostly there's Mr. McDonagh's playful, sometimes overly cute language, which serves the actors and also threatens to upstage them.
    • 86 Metascore
    • 80 Manohla Dargis
    The stories in The Interrupters, a hard wallop of a documentary, may weigh heavily on your heart and head, but they will also probably infuriate you.
    • 50 Metascore
    • 40 Manohla Dargis
    Favreau wavers uncertainly between goofy pastiche and seriousness in a movie that wastes its title and misses the opportunity to play with, you know, ideas about the western and science-fiction horror.
    • 66 Metascore
    • 60 Manohla Dargis
    A coming-of-adulthood story that improbably blends a plaintive drama with romantic longing and far-out science fiction.
    • 63 Metascore
    • 70 Manohla Dargis
    The results are about as naughty as that sounds (not very), but it also makes for a fairly giggling good time.
    • 42 Metascore
    • 50 Manohla Dargis
    There are enough decent moments in "Snow Flower" that you can at times see the remains of a better movie amid the jolting transitions between past and present, but these eras never really speak to each other, much less to you.
    • 65 Metascore
    • 80 Manohla Dargis
    A grave and quietly moving story about a South African girl of extraordinary character, does something that few painful dramas accomplish: It tells a tale of resilience without platitudes about the triumph of the human spirit or without false promises about an unclouded future.
    • 87 Metascore
    • 90 Manohla Dargis
    Childhood ends, this time forever, with tears and howls, swirls of smoke, the shock of mortality and bittersweet smiles in Harry Potter and the Deathly Hallows: Part 2, the grave, deeply satisfying final movie in the series.
    • 42 Metascore
    • 50 Manohla Dargis
    Ironclad alternately feels, plays and sounds like an abridged television mini-series and a feature-length video game.
    • 69 Metascore
    • 70 Manohla Dargis
    The pleasures of Ms. Breillat's work are its commitment and seriousness and its raw, sometimes very funny perversity: she's lets everything hang out, without apologies.
    • 71 Metascore
    • 70 Manohla Dargis
    A solid yet fleet French thriller about a society kidnapping and its shockwaves.
    • 43 Metascore
    • 40 Manohla Dargis
    Cheery, corny and perhaps calculatingly unoriginal, this is packaged entertainment so familiar it feels like a remake and so wholesome you could swear Sandra Dee starred in the 1959 original. Think of it as "No Sex and the City" for tweeners.
    • 63 Metascore
    • 80 Manohla Dargis
    A quiet, steady burn filled with stretches of unsettlingly reverberant silence cleaved in half by a midpoint eruption of violence. Here there is before, and then there is after.
    • 56 Metascore
    • 50 Manohla Dargis
    The loggerhead turtle is a threatened species, and one day all we may have left are its computer-generated analogues. Its fight for existence is plenty dramatic already, and is a story worth telling honestly.
    • 64 Metascore
    • 70 Manohla Dargis
    As is sometimes the case with movies that take on civil and political rights without force-feeding the audience,A Better Life" plays the human interest angle hard. It tries to put a lump in your throat and a tear on your cheek (it succeeds), pumping your emotions doubtless in an attempt to look nonpartisan.
    • 47 Metascore
    • 60 Manohla Dargis
    Ms. Diaz has found her down-and-dirty element in the kind of broad comedy that threatens to get ugly and more or less succeeds on that threat.
    • 76 Metascore
    • 90 Manohla Dargis
    In some sense it was beauty that saved Mr. Brannaman, that of his conscience and that of horses, which, having been tied to humans long ago, became companions, workers and for some, as this lovely movie shows, saviors.
    • 39 Metascore
    • 30 Manohla Dargis
    Green Lantern is bad. This despite Mr. Reynolds's dazzling dentistry, hard-body physique and earnest efforts.
    • 82 Metascore
    • 90 Manohla Dargis
    As in many road movies, the trip becomes an occasion for philosophizing, a journey inward and out as the men joust and parry, improvising and entertaining each other, at times by imitating, hilariously, someone else (Michael Caine, Sean Connery).
    • 71 Metascore
    • 60 Manohla Dargis
    Animal people sometimes say the wackiest things, but here, alas, they never satisfyingly address the ethical questions of what it means to capture and keep wild animals. Happily, while this movie's head may not always be in the right place, its heart is.
    • 65 Metascore
    • 70 Manohla Dargis
    With its spy-on-spy globetrotting, old-fashioned villains, flirty but prematurely swinging minis and fan-boy bits (look for an eye-blink-fast tribute to "Basic Instinct" and a cameo from the cult actor Michael Ironside), the whole enterprise has an agreeable lightness, no small thing, given its rapidly moving parts.
    • 81 Metascore
    • 80 Manohla Dargis
    In wistful tone and mood, Beginners at times hazily evokes the films of Wong Kar-wai, including "Chungking Express," a different kind of memory piece.
    • 67 Metascore
    • 60 Manohla Dargis
    The stilted and awkward physical and vocal performances in combination with the visually flat cinematography bring to mind the look, sound and visual texture of American daytime soaps, an association that perversely makes the movie more and more watchable.
    • 44 Metascore
    • 40 Manohla Dargis
    The funniest, most reckless moments in The Hangover Part II, the largely mirthless sequel to the 2009 hit "The Hangover," take place in the final credits.
    • 85 Metascore
    • 100 Manohla Dargis
    City of Life and Death isn't cathartic: it offers no uplifting moments, just the immodest balm of art. The horrors it represents can be almost too difficult to watch, yet you keep watching because Mr. Lu makes the case that you must.
    • 75 Metascore
    • 80 Manohla Dargis
    The movie is smart about a lot of things, including the vital importance of female friendships. And it's nice to see so many actresses taking up space while making fun of something besides other women.
    • 50 Metascore
    • 60 Manohla Dargis
    Nominally a story about sex, lies and faithfulness, Last Night is more truly a cautionary tale about mousetrap narratives.
    • 69 Metascore
    • 90 Manohla Dargis
    With a visual style and a deadpan humor that owes an obvious debt to the Finnish director Aki Kaurismaki ("Drifting Clouds"), they hold their shots long enough for you to scan details, look deep into faces and think on how little (or much) it takes to be happy. Here a painted Jesus hovers on a chipped wall, but it's an unholy family of three that finds heaven on earth.
    • 60 Metascore
    • 50 Manohla Dargis
    Nasty, brutish and as cuddly as a crusty old sock fished out of a sewer, the beaver or the beav, as I like to think of him, owns the film.
    • 84 Metascore
    • 90 Manohla Dargis
    A stirring, unexpectedly moving story of love and blood.
    • 66 Metascore
    • 80 Manohla Dargis
    In a free-for-all like this, where the laws of gravity and dictates of narrative logic are left to eat dust, it doesn't matter when anything takes place or why.
    • 86 Metascore
    • 100 Manohla Dargis
    The 3-D is sometimes less than transporting, and the chanting voices in the composer Ernst Reijseger's new-agey score tended to remind me of my last spa massage. Yet what a small price to pay for such time traveling!
    • 72 Metascore
    • 90 Manohla Dargis
    It's a modest film, if only in scale and apparent budget, about some of the greatest questions in life, like the existence of God, our capacity to see beyond our own vanity and the legacies of fathers, both blood and state.
    • 78 Metascore
    • 70 Manohla Dargis
    The French director Bertrand Tavernier deploys some smart ideas in this film, a period story about wars on the battlefield and those closer to home, but there's something a bit goatish in his attention to some female charms.
    • 49 Metascore
    • 50 Manohla Dargis
    Its mood is so muffled and point so submerged, it's difficult to see why Mr. Reeves and the rest of the cast pooled their talents to make a movie about a nowhere man going no place in particular in Buffalo.
    • 31 Metascore
    • 40 Manohla Dargis
    May be better enjoyed in an herb-enhanced condition. Getting stoned is, after all, a running joke in this comedy, which is as thin as rolling paper and just as ephemeral.
    • 65 Metascore
    • 60 Manohla Dargis
    In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
    • 59 Metascore
    • 80 Manohla Dargis
    While it can be seen as an environmental horror movie (if you must), Rubber doesn't dig down but instead merrily rolls on, as Mr. Dupieux plays with narrative and form. In one wonderful cinematic coup the tire spots a crow and shifts toward the bird so that it's framed in the tire hole, an angle that turns the tire into a camera. Point. Click. Explode.
    • 74 Metascore
    • 70 Manohla Dargis
    In crucial ways, Source Code, written by Ben Ripley, recalls "Moon," Mr. Jones's accomplished feature debut about a solitary astronaut played by Sam Rockwell. Source Code is bigger, shinier, pricier.
    • 54 Metascore
    • 50 Manohla Dargis
    One problem is that while Mr. Masset-Depasse frames Tania's status in vague political terms, he doesn't make an argument. Instead he creates heroes and villains in what is, by turns, a prison flick, a psychological thriller and a maternal melodrama.
    • 44 Metascore
    • 50 Manohla Dargis
    Trying to parse meaning in "Mia" is secondary to its main point, which is its look, created with 500,000 hand-drawn frames. That's impressive in an age in which most mainstream animation is done with computers.
    • 27 Metascore
    • 30 Manohla Dargis
    A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
    • 63 Metascore
    • 70 Manohla Dargis
    There are modest pleasures in a familiar story told differently enough that you're happy to keep guessing and watching.
    • 57 Metascore
    • 50 Manohla Dargis
    While Paul seems great conceptually, he's not particularly interesting or surprising.
    • 47 Metascore
    • 50 Manohla Dargis
    With modest resources, some nice digital camerawork and an appealing cast - the likable Ms. Jones draws you in easily - Mr. Shapiro keeps you engaged even when his story falters.
    • 29 Metascore
    • 50 Manohla Dargis
    My, what sharp teeth Ms. Hardwicke doesn't have: working from David Leslie Johnson's screenplay she takes on the story's grown-up themes of sex and death directly but weakly.
    • 60 Metascore
    • 90 Manohla Dargis
    One reason filmmakers like Mr. Nolfi seem attracted to Philip K. Dick's work, beyond the brilliance of its ideas, is that his unembellished writing style leaves them room to make the stories visually their own.
    • 40 Metascore
    • 70 Manohla Dargis
    This is the kind of cornball entertainment that rainy afternoons were made for. Throw in a cozy sofa too. Beastly will size down well on your television.
    • 45 Metascore
    • 50 Manohla Dargis
    Whatever the case, it's dispiriting that the draggiest, soppiest scenes in Hall Pass, as well as the most disgusting gag, involve women.
    • 56 Metascore
    • 70 Manohla Dargis
    Despite its A-movie aspirations, as the chases continue and the plot holes widen, Unknown quickly settles into the familiar B-movie comfort zone.
    • 69 Metascore
    • 80 Manohla Dargis
    A worthy, intensive labor of love that took years to shoot and edit, and it's also more gripping than a lot of recent Hollywood thrillers.
    • 50 Metascore
    • 60 Manohla Dargis
    The story, which starts promisingly only to stop, restart, sputter and come to a wheezing, disappointing puff of nada, proves the least satisfying part of the whole. The finale certainly isn't earned, but all the nasty, tiny jolts throughout the movie do prick the skin nicely.
    • 87 Metascore
    • 100 Manohla Dargis
    The importance of seeing, seeing the world deeply, is at the heart of this quietly devastating, humanistic work from the South Korean filmmaker Lee Chang-dong.
    • 70 Metascore
    • 90 Manohla Dargis
    Tim isn't super anything (though he proves heroic), and what makes Cedar Rapids a low-wattage pleasure is its insistence that his ordinariness - with his decency and sense of wonder - is pretty extraordinary.
    • 42 Metascore
    • 30 Manohla Dargis
    The director Alister Grierson, not grasping that bad dialogue is sometimes best delivered quietly, encourages his actors to shout and thrash about, and so they do, like fish out of water and performers out of their depth.
    • 64 Metascore
    • 90 Manohla Dargis
    With no grand speeches or oversized gestures, Mr. Katz creates a specific world that gracefully enlarges with universal meaning.
    • 67 Metascore
    • 80 Manohla Dargis
    Choreographed by the film martial-arts veteran Sammo Hung, the fights are spectacularly designed and performed, relying more on muscle and skill than wirework.
    • 49 Metascore
    • 40 Manohla Dargis
    There's some limited entertainment to be found in a movie as insistently conflicted as The Mechanic, but the accretion of sadism, humorlessness and antediluvian sexual politics is finally more exhausting than enlivening.
    • 68 Metascore
    • 50 Manohla Dargis
    When an actress gives herself as wholly as Ms. Steen does here, a filmmaker should return the favor with a comparable level of craft and commitment, which is largely absent from this movie.
    • 66 Metascore
    • 70 Manohla Dargis
    It's impossible not to cry at their suffering, but whether you'll feel anything is another story.
    • 45 Metascore
    • 40 Manohla Dargis
    An assaultive fiction about Liberian child soldiers made with boys and girls who actually fought in that country's recent war, left me wrung out - furious, confused, deep in thought.
    • 61 Metascore
    • 70 Manohla Dargis
    A lovely drift of a movie, Go Go Tales commands your attention even as it lulls you along. Conspicuously inspired by John Cassavetes's "Killing of a Chinese Bookie," among other touchstones, it is a sincere and inspired meditation on art and creation, but in a loose, funny key.
    • 45 Metascore
    • 50 Manohla Dargis
    Though seriously miscast as an unreformed alcoholic, the bronzed Ms. Paltrow gets by with a thin, serviceable voice (she sings her own songs) and an actor's confidence.
    • 82 Metascore
    • 70 Manohla Dargis
    The Illusionist is both a modest homage to its writer and a melancholy look at a lost world.
    • 27 Metascore
    • 30 Manohla Dargis
    Apparently, because all the good jokes were used up in the first two "Fockers" movies, the wisenheimers behind the latest installment in this unnecessary trilogy decided to bring in some spew, opening a sick toddler's mouth like a fire hydrant and letting it rip.
    • 80 Metascore
    • 100 Manohla Dargis
    In some ways, much like Charles Laughton's "Night of the Hunter," which the Coens quote both musically and visually, True Grit is a parable about good and evil. Only here, the lines between the two are so blurred as to be indistinguishable, making this a true picture of how the West was won, or - depending on your view - lost.
    • 46 Metascore
    • 30 Manohla Dargis
    An airless, sometimes distressingly mirthless comedy.
    • 49 Metascore
    • 40 Manohla Dargis
    A sequel with far less color and cinematic imagination, and many more bells and whistles, including a freakishly special-effected Mr. Bridges going mano a mano in cyberspace with the grizzled real deal. Twice as much Jeff Bridges does not necessarily mean twice as much entertainment - bummer.
    • 51 Metascore
    • 60 Manohla Dargis
    Equal parts appealing and appalling innocence, with a spark of anarchic menace, Mr. Galifianakis is good enough to make you almost forget the movie.
    • The New York Times
    • 69 Metascore
    • 70 Manohla Dargis
    It's the kind of outrageous, excessive flourish that can make Mr. Scott's work so enjoyable in the moment. He doesn't do much, but with a handful of appealing actors in tow, he sure keeps that machine going.
    • The New York Times
    • 81 Metascore
    • 100 Manohla Dargis
    Ms. Denis has an extraordinary gift for finding the perfect image that expresses her ideas, the cinematic equivalent of what Flaubert called le mot juste.
    • The New York Times
    • 58 Metascore
    • 60 Manohla Dargis
    Best appreciated for its sustained creepy vibe and sporadically arresting images, Heartless moves from one outré moment to another, from one self-conscious allusion to the next ("Donnie Darko" and "Taxi Driver"). It doesn't go anywhere special or much of anywhere, though it goes there in appreciably icky style.
    • 72 Metascore
    • 70 Manohla Dargis
    Tiny Furniture is at times more pleasurable to think about than it is to watch, more of a conceptual coup than an enjoyable experience.
    • 88 Metascore
    • 70 Manohla Dargis
    That film does have its attractions, notably in its two solid leads and standout support from Mr. Pearce.
    • 76 Metascore
    • 90 Manohla Dargis
    Both newcomers to Mr. To and longtime admirers should be prepared for a master class in directing.
    • 47 Metascore
    • 40 Manohla Dargis
    Once again, Bob Fosse's "Cabaret" haunts the stage with derbies and splayed legs, but with results that are strictly Sally Bowdlerized.
    • 53 Metascore
    • 50 Manohla Dargis
    A strong filmmaking voice was clearly not called for in an entertainment that has been carefully calibrated for maximum blandness. Mr. Apted is aboard to keep the franchise sailing along or at least afloat, which he does.
    • 37 Metascore
    • 50 Manohla Dargis
    Jolie never ignites, and neither does the movie. Mr. Depp doesn't fare better with a role that forces him to play meek and disappointingly mild, despite a few screenwriter-supplied tics.
    • 57 Metascore
    • 70 Manohla Dargis
    Certainly the fictionalized brood in All Good Things is equal to the Friedmans in terms of dysfunction, and they're loaded.
    • 79 Metascore
    • 100 Manohla Dargis
    Black Swan is visceral and real even while it's one delirious, phantasmagoric freakout.
    • 76 Metascore
    • 70 Manohla Dargis
    A small movie with a full heart, Undertow takes an old idea - the loving, lingering ghost - and gives it reverberant, resuscitated life.
    • 57 Metascore
    • 60 Manohla Dargis
    A passably amusing romantic comedy with a laugh-strewn script that's almost undone by the hard sell of an enterprise that drills every emotional beat into your head.
    • 50 Metascore
    • 90 Manohla Dargis
    As it turns out, Mr. Perry, while busily establishing his economic independence, has been finding his voice as a filmmaker. And here, working with fine performers like Ms. Elise, Anika Noni Rose, Phylicia Rashad and Kerry Washington, he sings the song the way he likes it - with force, feeling and tremendous sincerity.
    • 68 Metascore
    • 70 Manohla Dargis
    Those swayed by the argument in Client 9 that some of the rich and powerful whom Mr. Spitzer crusaded against might have exploited his stupidity should find all this enthralling. Others might just remember the hubris.
    • 60 Metascore
    • 70 Manohla Dargis
    Mr. Alfredson directed the second movie as well, and his work is again essentially functional, limited to clumsy action sequences and television-ready conversations. He doesn't prettify the violence in either movie, which might be unintentional but makes them feel more honest than the first did.
    • 50 Metascore
    • 50 Manohla Dargis
    What keeps the film's fragile realism intact are actors who can make even small moments count.
    • 83 Metascore
    • 90 Manohla Dargis
    Pugilists and philosophers of all kinds converge in Frederick Wiseman's mesmerizing documentary Boxing Gym.
    • 58 Metascore
    • 50 Manohla Dargis
    The results prove disappointing, simultaneously over the top and underwhelming.
    • 61 Metascore
    • 10 Manohla Dargis
    Watching Ramis struggle with his two stars is like watching someone try to juggle lead weights.
    • 71 Metascore
    • 70 Manohla Dargis
    Jeffs' meticulous framing nicely counterpoints all the messy turmoil, and her screenplay flows with the cadences of life -- its awkward eruptions and long, hurtful silences -- but she never pulls you deep enough into her characters.
    • 39 Metascore
    • 30 Manohla Dargis
    In "Pretty Woman" Roberts played a tough whore with a soft heart. Here, she's a business owner whose sense of self is so tenuous she doesn't even know how she likes her eggs done.
    • 49 Metascore
    • 60 Manohla Dargis
    Held together by the blues -- Brown's prose and Howard's performance, Big Bad Love is a mess, but it's a sincere mess, beautifully shot by Paul Ryan and faithfully adapted by screenwriter James Howard.
    • 30 Metascore
    • 40 Manohla Dargis
    Slick, noisy thriller.
    • 65 Metascore
    • 50 Manohla Dargis
    It was a hellish encounter, as well as a portent of the 10 years to come, and as such deserves far better than Mel Gibson's glower and writer-director Randall Wallace's guns-and-Moses platitudes.
    • 38 Metascore
    • 60 Manohla Dargis
    The film's gadgetry is pricier, but the leering is strictly the Playboy joke page circa 1967.
    • 64 Metascore
    • 30 Manohla Dargis
    About the only good thing to say about this mess is that it's rotten enough that even Altman cultists may be forced to reconsider their devotion.
    • 19 Metascore
    • 10 Manohla Dargis
    Given the tainted history of Supernova, it's difficult to figure out where to place blame for either the undernourished screenplay or the moribund action.
    • 69 Metascore
    • 80 Manohla Dargis
    Although much has and will be made of the film's sexual explicitness -- and, yes, it is a bit -- this less-than-perfect but deeply felt film is finally most daring for its hard-core insistence on our need for connection.
    • 50 Metascore
    • 50 Manohla Dargis
    Overly familiar industrial product, a big-budgeted entertainment defined by its putatively big concept (apes rule), an underwritten script and a few flashes of Burton's visual genius and gently askew worldview.
    • 46 Metascore
    • 60 Manohla Dargis
    Brilliantly edited and gorgeously shot, Esther Kahn is a dream to look at and, courtesy of Howard Shore's minor chords and high-strung strings, definitely something to hear.
    • 34 Metascore
    • 20 Manohla Dargis
    Otherwise fine actors such as Don Cheadle and Gary Sinise spend nearly two hours of film time stand-ing around like department-store dummies mouthing dialogue so wooden it's petrified.
    • 50 Metascore
    • 20 Manohla Dargis
    What Jackson's Shaft can't do is talk the talk, or much of anything else, in director John Singleton's feature-length insult to one of the more cherished modern screen icons.
    • 69 Metascore
    • 40 Manohla Dargis
    In its exploitation of human misery, Monster's Ball doesn't just invite cynicism; it provokes hostility.
    • 70 Metascore
    • 50 Manohla Dargis
    Kusama leads with feminist empowerment, but her sucker punch is a sappy romance.
    • 46 Metascore
    • 40 Manohla Dargis
    This isn't a terrible film by any means, but it's also far from being a realized work. Jaglom has said that he “writes” his films in the editing room, but for Festival in Cannes he must have been using a crayon.
    • 52 Metascore
    • 70 Manohla Dargis
    The director has created a slick, newer-than-new, faster-than-fast entertainment to end all entertainments.
    • 44 Metascore
    • 30 Manohla Dargis
    An exploitation flick, but without the thrills or cleavage.
    • 51 Metascore
    • 30 Manohla Dargis
    Kidman, who speaks Russian for much of the movie, turns in a technically impeccable performance, but the movie gets far more out of her than she out of it.
    • 16 Metascore
    • 0 Manohla Dargis
    Astonishing isn't the word -- neither is incompetent, incoherent or just plain crap. Indeed, none of these words really gets at the very special type of badness that is Deuces Wild.
    • 81 Metascore
    • 50 Manohla Dargis
    On viewing, the cuts seem negligible, but what is new and clearly improved is the sound, which now booms with each door slam and gunshot.
    • 44 Metascore
    • 40 Manohla Dargis
    Euro-kitsch of the highest order, which doesn't mean it's necessarily bad, just unnecessary.
    • 48 Metascore
    • 50 Manohla Dargis
    While its blowout finale is telegraphed long before the first act ends, and too much else is just as obvious and bland, Judd, Freeman and Franklin never stop adding filigree. The big picture isn't much to look at, but the detailing isn't bad.
    • 85 Metascore
    • 90 Manohla Dargis
    It is undeniable in its poignancy, an ecstatic vision of what might have been, though as much for its story as for the fact that the whole thing dissolves like a paper fan in rain, an evanescent masterwork.
    • 72 Metascore
    • 50 Manohla Dargis
    As with all of Egoyan's films, this new one comes cloaked in an atmosphere of dread, but for the first time there's no real purpose, intellectual or emotional, to all the free-floating anxiety.
    • 71 Metascore
    • 90 Manohla Dargis
    A terrifically clever film; has a soft-boilded heart.
    • 34 Metascore
    • 40 Manohla Dargis
    Ludicrous but not quite the howler it could and should have been.
    • 49 Metascore
    • 40 Manohla Dargis
    Burns, who made a career out of his mildly charming Irish-American rogue persona, has, with his latest and fourth feature, finally sloughed off the remaining traces of that charm, along with, apparently, the vestiges of a personality.
    • 72 Metascore
    • 60 Manohla Dargis
    An improvement on the original, but that isn't saying much.
    • 56 Metascore
    • 30 Manohla Dargis
    If only the whole thing were as funny as an Albert Brooks movie.
    • 49 Metascore
    • 40 Manohla Dargis
    A slag heap of outrageous coincidence and shimmering be-all-that-you-can-be posturing, the film is for all intents and purposes another Top Gun retread, which is why its lies don't register as deeply or offensively as those put forth by films like "Mississippi Burning" -- it's too silly to take seriously.
    • 65 Metascore
    • 80 Manohla Dargis
    Indeed, one of the nicest things about this jewel of a film is that there isn't much of a story at all -- just a handful of delicately drawn characters moving through life that is at once familiar and yet slightly elevated by a director who loves the good in people more than the bad.
    • 76 Metascore
    • 60 Manohla Dargis
    A portrait of dispossession so acute that it's caused a few critics to cry, Let her eat cake!
    • 49 Metascore
    • 70 Manohla Dargis
    There's never been a movie director like Catherine Breillat, a fearless visionary and one hell of a woman.
    • 47 Metascore
    • 40 Manohla Dargis
    If Lies were better, the most obvious point of reference would be "In the Realm of the Senses," but the filmmaking isn't good enough to warrant such comparison, and the ideas are half-baked.
    • 65 Metascore
    • 80 Manohla Dargis
    The film is at once breathtaking and ridiculous, and it's the tension between these two extremes, as well as Carax's own intoxicating style, that makes it essential viewing.
    • 78 Metascore
    • 80 Manohla Dargis
    A central work in the new, boldly politicized Iranian cinema.
    • 93 Metascore
    • 90 Manohla Dargis
    Generous, soulful film.
    • 79 Metascore
    • 90 Manohla Dargis
    The film is unabashedly sexy, and its heady romanticism feels as right and as unaffected as Im's bold use of color and his equally bold decision to tell the story through traditional pansori narration.
    • 47 Metascore
    • 50 Manohla Dargis
    Becomes guilty of the very prejudice that his film has so obviously tried to subvert. It's too bad -- the rest of it is hilarious.
    • 39 Metascore
    • 20 Manohla Dargis
    Writer and director Gilfillan has an estimable biography, having studied at the Beijing Film Academy and worked as an assistant to John Woo, but there's nothing in her prosaic feature debut that suggests this means a thing.
    • 33 Metascore
    • 30 Manohla Dargis
    A dud.
    • 52 Metascore
    • 50 Manohla Dargis
    The cast of mostly unknowns is agreeable if unnecessarily bland, not a Spicoli among them.
    • 52 Metascore
    • 50 Manohla Dargis
    Even Del Toro can't raise the conceptually dead.
    • 37 Metascore
    • 20 Manohla Dargis
    Now that's exploitation.
    • 75 Metascore
    • 50 Manohla Dargis
    A lot here is genially entertaining, but it doesn't make for interesting or vital filmmaking, because while Levinson might honestly prefer rye, he makes movies the way Wonder Bread bakes.
    • 79 Metascore
    • 80 Manohla Dargis
    A surprisingly affecting mood piece.
    • 73 Metascore
    • 30 Manohla Dargis
    The film portrays a family undone by grief over the death of a loved one; that, in any event, is its plot synopsis. More accurately, the film is a wallow of authorial narcissism, and a tedious, unrelenting, uninteresting wallow at that.
    • 47 Metascore
    • 60 Manohla Dargis
    A sui generis excursion into sex and race that is by turns terrible...and close to divine.
    • 59 Metascore
    • 40 Manohla Dargis
    The whole thing is kitsch of the most pricey sort, and it's a good guess that it will be a smash.
    • 65 Metascore
    • 70 Manohla Dargis
    Watching this well-behaved adaptation of one of Greene's most personal novels, you can't help but wish that the novelist had been around to write his own script.
    • 70 Metascore
    • 60 Manohla Dargis
    Less outright terrifying than under-the-skin shivery, this psychological thriller from sui generis Japanese director Kiyoshi Kurosawa breaks nearly all the rules -- including those of narrative logic.
    • 45 Metascore
    • 60 Manohla Dargis
    Exactly the sort of good bad movie that Hollywood does best -- it's big, worthless fun.
    • 47 Metascore
    • 70 Manohla Dargis
    Brother is a solid return to gangster form for Kitano, who knows how to transcend the most overly familiar genre clichés without betraying the rules of engagement.
    • 58 Metascore
    • 60 Manohla Dargis
    There's so much that's right in it that its blunders are all the more frustrating.
    • 32 Metascore
    • 70 Manohla Dargis
    Throws us directly into the ring for one of the most brutal fight scenes in American film.
    • 46 Metascore
    • 70 Manohla Dargis
    The movie is glorious pulp pastiche without the smirks, which is fitting given the author's ironic humanism.
    • 77 Metascore
    • 50 Manohla Dargis
    If only the whole thing didn't collapse in on itself, and quickly become a parody of artistic reach and terminal folly.
    • 41 Metascore
    • 20 Manohla Dargis
    Shandling comes off as a sleazebag -- all that's missing are the gold chains, tufted chest hair and English Leather.
    • 42 Metascore
    • 50 Manohla Dargis
    In the new film, it's personal tragedy that provokes the journey, not social upheaval or even scientific curiosity -- which, predictably, makes for a story that's at once more familiar and less interesting.
    • 82 Metascore
    • 100 Manohla Dargis
    In one of the sweetest ironies of the entire film year, Sam Raimi has made an A-movie with the soul of a B-movie classic.
    • 73 Metascore
    • 70 Manohla Dargis
    It's striking on several counts.
    • 41 Metascore
    • 50 Manohla Dargis
    Sander has turned mediocrity into the triumph of the smug.
    • 53 Metascore
    • 20 Manohla Dargis
    O
    The makers of this malnourished teen drama haven't just dropped six letters from the title of Shakespeare's Othello, they have excised everything that gives the original its troubling power -- principally a point but also furious passion.
    • 72 Metascore
    • 70 Manohla Dargis
    Go
    Entertaining and slight, topical and cannily familiar.
    • 74 Metascore
    • 80 Manohla Dargis
    Curiously, one of the film's stranger effects is that it's more convincing as a meditation on desire and Hollywood than as a biographical exploration.
    • 68 Metascore
    • 20 Manohla Dargis
    As mean-spirited toward its working-class characters, especially its women, as it is profoundly unfunny.
    • 71 Metascore
    • 70 Manohla Dargis
    What counts here aren't the girls, but the boys--and all the sweet and clumsy ways in which they make love to one another without once shedding their clothes.
    • 71 Metascore
    • 70 Manohla Dargis
    Smith has created the raunchiest romantic comedy in recent American film, and one of the most good-natured.
    • 37 Metascore
    • 20 Manohla Dargis
    What’s striking about John McKay's feature debut is how much contempt toward his female characters the writer-director manages to pack into 115 minutes.
    • 32 Metascore
    • 10 Manohla Dargis
    The cinema of morons made by morons for morons, Swordfish is everything you expect but worse.
    • 42 Metascore
    • 70 Manohla Dargis
    The movie is ridiculous, but since the special effects are really quite impressive, that seems a small point.
    • 12 Metascore
    • 10 Manohla Dargis
    It's shockingly inert.
    • 83 Metascore
    • 60 Manohla Dargis
    There's something overly studied, almost clinical, in how it all pulls together.
    • 26 Metascore
    • 50 Manohla Dargis
    Although it's not half bad -- which doesn't mean it's half good -- this horror cheapie comes equipped with a few ideas, a little atmosphere and a couple of serviceable scares.
    • 12 Metascore
    • 0 Manohla Dargis
    Barely proficient on a craft level, this jumble of putatively comic misunderstanding and overly familiar crude burlesque achieves its nadir with a cameo from Mamie Van Doren, a degrading, shameful turn that lays bare, all too literally, the filmmakers' contempt for women.
    • 22 Metascore
    • 60 Manohla Dargis
    This is harmless stuff, and sometimes it's actually pretty funny, too.
    • 49 Metascore
    • 50 Manohla Dargis
    For all their foul jokes and embarrassments, the brothers have a talent for creating characters whose goodness, and lack of ironic self-consciousness, shield them against life's insults.
    • 74 Metascore
    • 60 Manohla Dargis
    In the end, neither the appealing cast -- nor the force of Scott's stunning imagery is enough to make us understand why these men died.
    • 64 Metascore
    • 60 Manohla Dargis
    Robbins has made a drastically different film from the one Welles envisioned -- it's wacky where Welles is absurd, cynical where Welles is canny.
    • 62 Metascore
    • 50 Manohla Dargis
    A story as creaky as the sub that gives the film its name.
    • 76 Metascore
    • 90 Manohla Dargis
    In a film that verges on greatness, it is a sign of terrific faith, as well as of Anderson's promise as a director, that when one of the characters in The Royal Tenenbaums wears hospital pajamas after a detour into grief, the words over his heart read "recovery area."
    • 69 Metascore
    • 80 Manohla Dargis
    Their taste is as bad as their timing is exquisite.
    • 25 Metascore
    • 20 Manohla Dargis
    The only vaguely funny moments are courtesy William Fichtner, as the dead woman's husband, and Jamie Lee Curtis in full metal drag as his furtive squeeze.
    • 79 Metascore
    • 90 Manohla Dargis
    At once an emotional thriller and a domestic horror movie -- a woman's picture with a vengeance, in which the bloodletting is kept to a minimum, and ends up all the more powerful and profound for it.
    • L.A. Weekly
    • 69 Metascore
    • 70 Manohla Dargis
    Although what ensues is generally unsurprising and as pro forma down-and-dirty as the genre dictates, it's also on occasion rather affecting.
    • 83 Metascore
    • 70 Manohla Dargis
    Election is finally, necessarily, as much about sex as it is about politics -- wanting it, getting it, losing it.
    • 76 Metascore
    • 90 Manohla Dargis
    Enormously enjoyable, high-adrenaline documentary.
    • 38 Metascore
    • 40 Manohla Dargis
    Director Gary Fleder can only fling the camera about and indulge in some familiar screen sadism (and no wonder -- his last feature was "Kiss the Girls") as he tries to squeeze a few thrills from material as desiccated as his leading man.
    • 82 Metascore
    • 60 Manohla Dargis
    Alternately frustrating and rewarding film.
    • 47 Metascore
    • 20 Manohla Dargis
    Lazy, infinitely silly cartoon.
    • 69 Metascore
    • 20 Manohla Dargis
    Sucks -- because it's a frenetic bore that insists on its audience's adoration while making no demands upon their intelligence.
    • 67 Metascore
    • 70 Manohla Dargis
    This paranoid thriller has all the failings we expect...but Enemy of the State also has enough wit, talent and narrative thrust to mostly transcend those flaws, at least until that ludicrous finish.
    • 65 Metascore
    • 70 Manohla Dargis
    There's so little going on with either the film's story or its characters, however, that there is plenty of time to get lost in cinematographer Emmanuel Lubezki's eerily beautiful visuals.
    • 78 Metascore
    • 70 Manohla Dargis
    Guest begins -- but doesn't end -- with caricatures, then peels away at our preconceptions until we see the heart and soul beneath.
    • 18 Metascore
    • 20 Manohla Dargis
    Unfunny comedy. Nearly everyone is terrible except for Cumming, who just does what comes naturally and steals his every scene.
    • 84 Metascore
    • 90 Manohla Dargis
    Has the glorious look and immaculate technique we expect from Mann, along with a wealth of superb secondary performances.
    • 65 Metascore
    • 20 Manohla Dargis
    The limp title says it all.
    • 64 Metascore
    • 50 Manohla Dargis
    Tykwer may want meaning to go with his special effects, but the problem with his filmmaking, both here and earlier, is that he's more interested in his own bag of tricks than in actually saying something.
    • 79 Metascore
    • 90 Manohla Dargis
    Va Savoir doesn't so much flow as wander, trailing off into drama one minute, slapstick the next; it tries your patience, but ever so gently, masterfully.
    • 63 Metascore
    • 70 Manohla Dargis
    A screenplay that not only has a way with genre cliché, but manages to score some deviously witty political points
    • 63 Metascore
    • 70 Manohla Dargis
    The irony is, it's his vulgarity, this mixture of the gaudy and the glossy, that distinguishes Lyne, that makes his work identifiable and, when the story's right, such a guilty pleasure.
    • 51 Metascore
    • 30 Manohla Dargis
    At once illogical and insultingly stupid, filled with dead-end twists and the sort of dialogue that makes a mockery of actual adult relations.
    • 45 Metascore
    • 40 Manohla Dargis
    It’s the sort of performance that announces itself with the subtlety of a lit-up highway construction sign. Caution: Actress at Work.
    • 48 Metascore
    • 30 Manohla Dargis
    Bruckheimer's latest is in some crucial respects worse than those earlier blockbuster bids ("Gone in 60 Seconds" and "Coyote Ugly") -- certainly it's more fraudulent -- because unlike those films, which don't claim to be about anything other than thrills and tits, Remember the Titans means to be about race.
    • 78 Metascore
    • 60 Manohla Dargis
    Malick dangles his maddeningly innocent ideas about life and death and man's gift for self-destruction.
    • 64 Metascore
    • 60 Manohla Dargis
    Roger Nygards’ sweet, gently funny documentary about the wild and woolly fans of all things Star Trek doesn’t really reveal much about the original landmark series and its various spinoffs, nor does it ever really get to the heart of the shows’ enduring appeal.
    • 90 Metascore
    • 90 Manohla Dargis
    Crowe has made a hugely entertaining, nearly pitch-perfect film about rock & roll.
    • 78 Metascore
    • 90 Manohla Dargis
    This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
    • 84 Metascore
    • 90 Manohla Dargis
    This unassuming, insistently entertaining documentary has the virtue of a great subject.
    • 44 Metascore
    • 20 Manohla Dargis
    The film isn't just banal, it's aggressively, arrogantly banal.
    • 82 Metascore
    • 70 Manohla Dargis
    Better than the usual Hollywood rot, but dialectical it ain't.
    • 45 Metascore
    • 30 Manohla Dargis
    Slight and goofy, this cut-rate attempt to mine "Harry Potterville" is undermined by its ostensible draw: the lead casting of Jonathan Lipnicki.
    • 68 Metascore
    • 80 Manohla Dargis
    Hilarious, unnerving and remarkably intimate portrait of multiethnic adolescent life that lends vigorous new meaning to the term "teen movie."
    • 59 Metascore
    • 50 Manohla Dargis
    A movie that's nearly as good as its publicity campaign.
    • 50 Metascore
    • 40 Manohla Dargis
    Spike Lee lost his nerve -- there are moments here, too, when it also seems like he lost his sense.
    • 69 Metascore
    • 40 Manohla Dargis
    One of those movie equivalents of a freeway pileup -- it's a mess, at once insistently watchable and a total dead end.
    • 34 Metascore
    • 0 Manohla Dargis
    Isn't just rotten -- badly acted, badly written, badly conceived -- it's dead inside.
    • 48 Metascore
    • 40 Manohla Dargis
    Some of the funny stuff is actually funny, some of it is funny and yucky, but most of it is just stupid.
    • 29 Metascore
    • 10 Manohla Dargis
    Absurd beyond belief or reason.
    • 26 Metascore
    • 20 Manohla Dargis
    The pits.
    • 77 Metascore
    • 80 Manohla Dargis
    It doesn’t add up to much, which is part of the point as well as the fun, but what makes the film noteworthy is its pure pop adrenaline.
    • 59 Metascore
    • 70 Manohla Dargis
    With her ductile physicality and undeniable charm, Witherspoon remains acutely present even when everyone else -- director, writers and cast -- has checked out.
    • 64 Metascore
    • 90 Manohla Dargis
    The film's strength and its entertainment lie in John Myhre's production design, its generally appealing cast...and, perhaps most importantly, a canny degree of self-parody.
    • 75 Metascore
    • 50 Manohla Dargis
    There's not much more to this adaptation of the Nick Hornby novel than charm -- effortless, pleasurable, featherweight charm.
    • 45 Metascore
    • 50 Manohla Dargis
    The film's start-and-go rhythm can be as maddening as the characters' amorality and sheer wallowing stupidity, but Clark has an uncanny talent for putting atmosphere on celluloid.
    • 52 Metascore
    • 30 Manohla Dargis
    Of course, it's terrible -- but did it have to be this bad?
    • 65 Metascore
    • 70 Manohla Dargis
    Grotesquely violent, horribly funny.
    • 68 Metascore
    • 60 Manohla Dargis
    It's good -- when it's not adrift in an absence of meaning.
    • 74 Metascore
    • 80 Manohla Dargis
    The most purely entertaining movie to come out of Hollywood so far this year, and if that doesn't seem worthy of Soderbergh's talents, it's worthy enough for a night's amusement.
    • 81 Metascore
    • 50 Manohla Dargis
    There's nothing new about this sado-cinema, and nothing much worthy, either.
    • 64 Metascore
    • 40 Manohla Dargis
    A clumsily directed, painstakingly faithful adaptation thats heavy on plot, light on nuance, and features in its title role a young newcomer whose most striking quality is an almost preternatural absence of oomph.
    • 51 Metascore
    • 40 Manohla Dargis
    Only once, in a quick sketch of "Planet of the Apes" -- does the humor seem to spring from pure movie love. In nearly every other respect, the film is so lazy, solipsistic and overpleased with itself it's hard not to believe that this time the Evil Empire has won not just the battle, but the war.
    • 79 Metascore
    • 60 Manohla Dargis
    High Fidelity wants to be hip, but it's comically square.
    • 74 Metascore
    • 60 Manohla Dargis
    At once a heartfelt story about a family undone by violence and an overburdened allegory of fascism.
    • 66 Metascore
    • 60 Manohla Dargis
    [Proyas] hasn't yet learned how to enliven his characters as fully as his sets. Part of this is structural (somnolence is built into the script), but the greater fault lies with Proyas' direction of his performers, most of whom deliver their lines in a strangulated whisper.

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