William Arnold

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For 1,179 reviews, this critic has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 4 points higher than other critics. (0-100 point scale)

William Arnold's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 This Film Is Not Yet Rated
Lowest review score: 0 Domino
Score distribution:
1179 movie reviews
    • 71 Metascore
    • 67 William Arnold
    Predictable but entertaining kid movie.
    • 55 Metascore
    • 67 William Arnold
    But the movie goes absolutely nowhere. It allows us to be a fly on the wall to a whirlwind of gossip, confessions and intimate moments. But when the ending comes, it's an epic letdown. It's just so much Oprah-esque eye candy, without a point of view, or a plot.
    • 58 Metascore
    • 91 William Arnold
    The Reader is significant because -- like another film opening today, "Valkyrie" -- it asks us to see not just the Jews but the whole German people as victims of the Holocaust, and to view Nazism as more a product of explicable ignorance than inexplicable evil.
    • 40 Metascore
    • 42 William Arnold
    An exceedingly dull retro-weepie.
    • 56 Metascore
    • 67 William Arnold
    It's a mixed blessing.
    • 79 Metascore
    • 50 William Arnold
    The second-class status of women in Korean society is a reminder of Confucianism's dark side. For all its pretty cinematic images and well-meaning bows to a vanishing literary tradition, this movie is a celebration of that dark side.
    • 51 Metascore
    • 67 William Arnold
    Has a delightfully nasty villain and pumped-up action, albeit along familiar lines.
    • 87 Metascore
    • 75 William Arnold
    McNamara finally gets to tell his side of the story -- and is somewhat humanized in the process -- but still comes off looking like a tragic character living in a state of denial.
    • 56 Metascore
    • 75 William Arnold
    Stylistically, Religulous is very much like a Michael Moore documentary, in that most of the scenes have a comic structure, end with a punch line and are designed to make Maher-the-interviewer look sane and rational while his subject comes off as a complete fool.
    • 33 Metascore
    • 42 William Arnold
    It's hard to imagine how anyone could sit through this thing except squirming critics and violence addicts in need of a particularly gruesome fix.
    • 53 Metascore
    • 25 William Arnold
    Sylvester Stallone is filming a new episode of his "Rambo" action series, but Mark Wahlberg has beaten him to the punch with Shooter, a preposterous gut buster that follows the formula so closely it would probably lose a plagiarism suit.
    • 95 Metascore
    • 83 William Arnold
    The French are very much the villains of the saga and, naturally, have always hated the movie (it was banned in Paris until 1971); and it remains controversial in other quarters as well because it seems to embrace, even celebrate, terrorism as a political tool.
    • 75 Metascore
    • 75 William Arnold
    States straight off that the man's legacy has been tarnished in most of the liberal world's eyes by his being the spoiler of the 2000 presidential election. "It will be engraved on his tombstone," says his friend Phil Donahue.
    • 43 Metascore
    • 67 William Arnold
    Like most Price movies, it's challenging, engaging and free of the usual thriller cliches.
    • 44 Metascore
    • 58 William Arnold
    Unknown seems fairly stale and unoriginal, mainly because it's yet another movie with the short-term memory loss premise ("Memento," "Fifty First Dates," etc.), and it comes so late in the cycle that it feels like a dying gasp.
    • 65 Metascore
    • 83 William Arnold
    A highly original, often hilarious, what-if farce about Watergate.
    • 60 Metascore
    • 67 William Arnold
    The film's European locations, sets (in Rome's Cinecitta studios) and photography are unusually striking; Rachel Portman contributes an elegant score; and Holm (who played the emperor once before in 1981's "Time Bandits") embodies the character with an effortlessly regal charisma.
    • 62 Metascore
    • 83 William Arnold
    Washington brings it off with an unforced and well-earned emotional wallop, and whose strong hand, keen eye, sweet spirit and good taste are reflected in almost every scene.
    • 62 Metascore
    • 42 William Arnold
    All told, this thing has to be one of the dullest caper movies ever made.
    • 57 Metascore
    • 75 William Arnold
    An absorbing slice of a lost world that's actually very reminiscent of Kurosawa's underappreciated 1957 film, "The Lower Depths."
    • 70 Metascore
    • 75 William Arnold
    It would be easy to categorize the Lebanese women's picture Caramel as a Levantine combination of "Sex in the City" and "Beauty Shop," but it's actually a lot smarter, sharper and deeper than that.
    • 75 Metascore
    • 91 William Arnold
    An imaginative self-profile of producer Robert Evans, could well be the most totally irresistible movie of the summer.
    • 96 Metascore
    • 75 William Arnold
    Has the power to transport us to a different place. The spark of special anime magic here is unmistakable and hard to resist.
    • 71 Metascore
    • 67 William Arnold
    The film -- Lelouch's 49th in 41 years -- stars Fanny Ardant as a glamorous, beautiful and phenomenally popular Parisian novelist who we first see in a flash-forward as she's being hauled into the Sureté, interrogated and formally charged with murder.
    • 53 Metascore
    • 75 William Arnold
    Effective piece of election-year propaganda.
    • 44 Metascore
    • 42 William Arnold
    Progressively sabotaged by poor technical quality, terrible plotting, a glaring lack of directorial skill and finesse, scenes that have no credibility and/or motivation and an astounding sloppiness to its historical detail.
    • 84 Metascore
    • 83 William Arnold
    It's a brilliant little microcosm of the '60s experience that, in a most gentle way, shows us how the counterculture probably was doomed from its inception.
    • 38 Metascore
    • 50 William Arnold
    DeVito definitely has a gift for absurd black humor that kicks in here and there, but Adam Resnick's script is slavishly mean-spirited.
    • 66 Metascore
    • 75 William Arnold
    The film is so explicit (endless swinging parties and porno scenes, more bouncing breasts than a Russ Meyer movie) that it finally becomes the thing it fears.
    • 56 Metascore
    • 75 William Arnold
    The most totally appealing and seemingly heartfelt performance of (DeVito's) career.
    • 68 Metascore
    • 67 William Arnold
    The only difference between the two films is that this one chronicles Capote's New York environment in more detail (and with humorous interludes), and it's a tad lighter in tone and perhaps a bit less high-horse condemning of its subject's literary ethics.
    • 43 Metascore
    • 33 William Arnold
    Unlike "Crying Game" (which, despite the gender confusion, definitely works as a love story for a general audience), the only emotion this movie evokes for its star-crossed lovers is an unpleasant sense of incredulity. [08 Oct 1993]
    • Seattle Post-Intelligencer
    • 70 Metascore
    • 67 William Arnold
    The ordeal undeniably strikes an emotional chord, and much of this is due to Holmes, who wonderfully communicates both the character's streak of rebellion and her desire to atone. The movie is a solid star vehicle for her.
    • 35 Metascore
    • 67 William Arnold
    Not surprisingly, the best thing on the screen is Mirren.
    • 47 Metascore
    • 42 William Arnold
    Somehow the screwball concoction does not jell. The stars are pleasant but unexciting, the goofy ensemble has a few moments of hilarity but never catches fire, the laughs are very scattered and the film's title is a self-fulfilling prophecy.
    • 38 Metascore
    • 42 William Arnold
    The movie is just grindingly by-the-numbers: an uninspired brew of all the clichés of the kidnap-thriller genre, liberally seasoned with brutality, stirred at adrenaline-rush speed by a director with a heavy hand and very little imagination.
    • 78 Metascore
    • 83 William Arnold
    The artist's life and times were turbulent and tragic, but the effect of the movie is the opposite: it's somehow a very calming, almost Zenlike experience, and it left me with a peaceful glow that I managed to carry around for the rest of the day.
    • 57 Metascore
    • 67 William Arnold
    While the movie may border on teen exploitation in many scenes, its heart and values are mostly in the right place, and it qualifies its thrill of victory with a very sober message: few high school athletes become NBA millionaires, many are cheated out of an education.
    • 34 Metascore
    • 58 William Arnold
    Has a good cast, a nicely sustained mood of paranoia and several genuinely creepy moments, but ultimately ends up being one more highly formulaic teen screamer.
    • 88 Metascore
    • 83 William Arnold
    Indeed, it has to be one of the most eerie, morbidly absorbing and psychologically compelling movies ever made about a writer in the agonizing process of creating an important piece of literature.
    • 58 Metascore
    • 75 William Arnold
    It offers no special insights into its subject, it doesn't connect on any higher level, and it left me feeling vaguely dissatisfied and let down.
    • 91 Metascore
    • 100 William Arnold
    So magnificent in so many ways that, for the first time, it seems to raise the docudrama to high art.
    • 52 Metascore
    • 67 William Arnold
    It's a handsome production, nicely shot by Elliot Davis on Italian and Moroccan locations, with a performance by Castle-Hughes ("Whale Rider") as the Virgin that's so pleasing and minimalist it could have been lifted from a fresco by Giotto.
    • 48 Metascore
    • 67 William Arnold
    The truly bizarre Ben Stiller farce, Night at the Museum, is no laugh riot, and misfires all over the screen, but it develops its own unique charm and leaves a pleasant afterglow. A family audience could do worse for a comedy this holiday season.
    • 59 Metascore
    • 75 William Arnold
    The experience is fun enough that it's sure to be the summer's first blockbuster.
    • 72 Metascore
    • 50 William Arnold
    Haskell comes off as a jerk -- but Mark somehow looks even worse: not just insincere but weak, vain and vindictive.
    • 48 Metascore
    • 42 William Arnold
    Numbingly predictable and repetitive non-stop action.
    • 49 Metascore
    • 75 William Arnold
    Her (Ardant's) diva-in-decline is funny, lightly campy and dead-on in the way it encapsulates the sadness at the end of a selfish life lived only for art.
    • 72 Metascore
    • 67 William Arnold
    All or Nothing has some appealing performances, several scenes of absolutely shattering domestic drama and an uncanny aura of gut-wrenching, documentarylike authenticity.
    • 61 Metascore
    • 83 William Arnold
    This is the most impressive directing debut by a "name" British actor in a long, long time.
    • 31 Metascore
    • 25 William Arnold
    An innocuous waste-of-time.
    • 50 Metascore
    • 58 William Arnold
    It never quite adds up to anything. It's engaging enough while it's going on, but has little visceral impact or resonance.
    • 35 Metascore
    • 58 William Arnold
    It's never hugely engaging and it's instantly forgettable, but it has a certain goofy charm.
    • 47 Metascore
    • 25 William Arnold
    So bloated, self-righteous and exploitative, it's hard to imagine anyone staying to the end, much less demanding a sequel.
    • 59 Metascore
    • 58 William Arnold
    Annoyingly shallow, filled with one-note characters, and not half as daring as it seems to think it is.
    • 62 Metascore
    • 75 William Arnold
    But the movie soars as docudrama. Niccol's model seems to have been Scorsese's "GoodFellas" and, like that film, the blitzkrieg of images and rapid-fire narration takes us on a breathtaking inside tour of a scary world. It's an extraordinary expose.
    • 63 Metascore
    • 75 William Arnold
    The film manages to be an intriguing, grimly entertaining, strangely haunting little slice of heartland noir very much in the experimental tradition of such previous Soderbergh oddities as "Schizopolis" and "Full Frontal."
    • 26 Metascore
    • 25 William Arnold
    It's hard to imagine how the movie year could possibly produce a more annoyingly stupid movie. It's so witless, broadly played and insulting to anyone's intelligence that it's almost as offensive, in its own way, as "Jackass: The Movie."
    • 97 Metascore
    • 100 William Arnold
    The granddaddy of all caper/heist movies. The work that defined the genre for the subsequent four decades of filmmakers, none of whom was able to surpass it for style or suspense.
    • 54 Metascore
    • 25 William Arnold
    The dismal high school comedy Charlie Bartlett has the look, feel and sentiment of a made-for-video cheapie that might have been grudgingly whipped together by Robert Downey Jr. as some sort of court-ordered community service project for his many drug busts.
    • 27 Metascore
    • 58 William Arnold
    Anyone in the market for a bittersweet romantic comedy could do worse.
    • 38 Metascore
    • 58 William Arnold
    By the time we get to the unsurprising surprise ending, what seemed innovative and challenging in Taking Lives has lost its juice and reverted to formula form, and we leave the theater with that same old let-down feeling of having endured a ritual one more time.
    • 72 Metascore
    • 50 William Arnold
    Its heart is in the right place and it resists the temptation to junk up the story, but Depp does nothing with his character and the movie has little of the unique wit or panache that would make it appealing to an older-than-10 audience.
    • 52 Metascore
    • 42 William Arnold
    In the end, there's also something distinctly distasteful about a movie in which the central figure casts himself as noble martyr while character-assassinating his parents.
    • 65 Metascore
    • 67 William Arnold
    It induces a serious case of sensory overload that left me drained and edgy.
    • 61 Metascore
    • 67 William Arnold
    Only a qualified success. It suffers in its transition from page to film, and my guess is that its devoted fan base will think the adaptation misses the mark by more than a few inches.
    • 78 Metascore
    • 50 William Arnold
    Seems like very tame stuff, with little in the way of graphic sex and all the baggage of a run-of-the-mill art-house costume drama.
    • 19 Metascore
    • 25 William Arnold
    Where "The Cat" book was anarchistic but ultimately sweet-spirited, this movie is ugly, dumb and colossally mean-spirited.
    • 49 Metascore
    • 50 William Arnold
    The mystery is never very compelling, Paul McGuigan's direction tends to be obvious and flat, many of the characters are stagy and unconvincing, and Bettany doesn't have anywhere near the star power to hold the movie together.
    • 43 Metascore
    • 91 William Arnold
    It struck me as the most exciting and original Hollywood thriller, occult or otherwise, since "The Sixth Sense."
    • 47 Metascore
    • 58 William Arnold
    The movie is full of action and stunts, but after the gangbusters opening, it loses steam and imagination very quickly.
    • 56 Metascore
    • 75 William Arnold
    "Clouds" fills its exteriors with the glory of the Utah mountains and its interiors with the work of the late Hopi artist, Dan Lomahaftewa -- a pleasing combination that gives the film its own special visual style and magic.
    • 76 Metascore
    • 58 William Arnold
    It's simply not a very good movie. Its story line is populated with so many characters and meaningless names that it's nearly impossible to follow, and its author's message doesn't amount to much more than a cry of despair.
    • 68 Metascore
    • 100 William Arnold
    A tasteful, richly textured, exquisitely nostalgic drama that carries with it an enormous emotional punch. [09 Oct 1992]
    • Seattle Post-Intelligencer
    • 58 Metascore
    • 75 William Arnold
    The movie is a relentlessly enjoyable star vehicle and a hard-charging action-o-rama full of the usual Bondian elements, for the most part well done. It's one of the year's better action films.
    • 57 Metascore
    • 83 William Arnold
    Despite a few places where the air of déjà vu is a bit too thick, it's a class act, with a textured script, one of the series' more stunning title sequences.
    • 33 Metascore
    • 67 William Arnold
    Has a certain ghoulish fascination, and generates a fair amount of B-movie excitement.
    • 98 Metascore
    • 100 William Arnold
    Above all, the film is a classic of "poetic realism," that distinct brand of pessimistic '30s French urban drama that gave lyrical, sometimes even surrealistic, interpretations to working-class romances and underworld characters, settings and dramas.
    • 59 Metascore
    • 83 William Arnold
    The movie is an unusually witty and intelligent romantic comedy and Hollywood's best Valentine's Day gift in years.
    • 90 Metascore
    • 100 William Arnold
    It's not only the most gentle and effortlessly funny movie so far this year, it's a film with a style and sensibility that wonderfully harkens back to Hollywood's golden age of sophisticated comedy, and in particular to the masterpieces of Crowe's filmmaking idol, Billy Wilder.
    • 83 Metascore
    • 75 William Arnold
    It's a chilling tale that leaves us with the fear that Latin America's exploding social problems may well be beyond solution.
    • 76 Metascore
    • 75 William Arnold
    The movie works amazingly well as a historical epic.
    • 75 Metascore
    • 75 William Arnold
    It's hard to imagine an upbeat movie about homelessness, but Dark Days is just that.
    • 41 Metascore
    • 25 William Arnold
    Falls disastrously flat.
    • 57 Metascore
    • 75 William Arnold
    In many ways, a magical little movie in its own right, and a thoroughly pleasant experience.
    • 66 Metascore
    • 83 William Arnold
    The kind of movie you're glad somebody had the guts to make, but you don't really want to endure.
    • 48 Metascore
    • 25 William Arnold
    It should have been a cut above the usual teen comedy. But it touches the same old bases in the same old dumb ways.
    • 89 Metascore
    • 83 William Arnold
    The film concludes that there's still simply no way out of the forest.
    • 53 Metascore
    • 75 William Arnold
    With his Jack Nicholson mannerisms extinguished and his boyish features made up to look worn and aged, Slater also makes us believe and care about this guy. A movie this marginal isn't likely to get much notice, but it's one of the very best things he has done.
    • 71 Metascore
    • 50 William Arnold
    Fails to be anything special. It makes passable preteen entertainment but comes off as clunky and heavy-handed in most of the places it should be graceful and enchanting.
    • 70 Metascore
    • 75 William Arnold
    What the film does extremely well is take us deep into the crime scene, and give faces to the victims so we can experience this epic, incomprehensible and somehow prototypically American act of violence on a more personal and intimate level.
    • 47 Metascore
    • 91 William Arnold
    No, it doesn't exactly re-create the magic that made the original such an instant classic, but it's faster and more involving than "Reloaded" and it rounds off the premise and themes of the trilogy in a surprisingly satisfying way.
    • 37 Metascore
    • 58 William Arnold
    Feels forced every step of the way. Ultimately it's the kind of under-inspired, overblown enterprise that gives Hollywood sequels a bad name.
    • 65 Metascore
    • 91 William Arnold
    The movie is exactly what it's billed to be: the successful blending of two distinctly different filmmaking sensibilities from two different generations. But the stronger, and more pessimistic, sensibility -- Kubrick's -- carries the day.
    • 43 Metascore
    • 50 William Arnold
    There's no real wit or cleverness to the script.
    • 62 Metascore
    • 58 William Arnold
    I walked out of it feeling much the same way I did after "The Cat in the Hat" and "The Polar Express" -- jarred by its excess, undernourished by its lack of heart and bored by its lack of originality.
    • 56 Metascore
    • 50 William Arnold
    The movie never gets off the ground. Kaufman's script is never especially clever and often is rather pretentious.
    • 51 Metascore
    • 42 William Arnold
    Quickly becomes an endurance test: like watching an old Carol Burnett skit that's not working, or a high school play that's trying to be bad.
    • 28 Metascore
    • 42 William Arnold
    A resounding dud.
    • 24 Metascore
    • 25 William Arnold
    An excruciating rehash that has virtually none of the wit and charm of the original.
    • 71 Metascore
    • 67 William Arnold
    It's unspeakably morbid, and never adds up to be something special.
    • 40 Metascore
    • 67 William Arnold
    It's a parade of insanity, murder, suicide, arson and crimes of passion; delivered in a style as sardonic and tongue-in-cheek as a Vincent Price monologue; complemented by deadpan narration that keeps injecting inappropriate bits of civic boosterism.
    • 72 Metascore
    • 83 William Arnold
    Grueling but ultimately rewarding new documentary.
    • 47 Metascore
    • 67 William Arnold
    It's an art-house genre piece, very much in the tradition of "Enchanted April," "Shirley Valentine" and "Under the Tuscan Sun." But, a few charming scenes aside, A Good Year is in the hands of the wrong star and wrong director.
    • 56 Metascore
    • 58 William Arnold
    So fluffy and sitcom shallow that it makes "Gidget Goes to Rome" and its other many predecessors in the young-American-girl-goes-to-Italy-and-falls-in-love genre look like high art.
    • 84 Metascore
    • 83 William Arnold
    Simply enjoy its witty and expertly crafted scenes, its controlled performances, its eccentric but mostly admirable characters, its succession of bleak but cozily Nordic panoramas and its surprisingly optimistic view of the world.
    • 37 Metascore
    • 42 William Arnold
    When, in its eventful final act, Merhige finally reveals what this thing is REALLY all about, it comes not with any blissful storytelling satisfaction but a grinding sense that this strange movie is a structural mess.
    • 59 Metascore
    • 67 William Arnold
    The story line is the typical M:I labyrinthine mess, made even more confusing by the always challenging Robert Towne as screenwriter, and by the continuation and overuse of the flawlessly lifelike "mask" device established in Part One.
    • 67 Metascore
    • 91 William Arnold
    A mesmerizingly suspenseful drama.
    • 65 Metascore
    • 75 William Arnold
    Director Emanuele Crialese captures a stifling, dead-end rural culture awash in nature's beauty but seething with pent-up sexual frustration.
    • 56 Metascore
    • 58 William Arnold
    It pales in comparison to its two classic predecessors, and also just generally feels like one too many trips to the well.
    • 71 Metascore
    • 58 William Arnold
    Ultimately emotionally flat and eminently forgettable.
    • 67 Metascore
    • 67 William Arnold
    Lee doesn't seem to have the slightest sympathy for his hero, no particular point is made, and the whole exercise seems cold and empty.
    • 40 Metascore
    • 75 William Arnold
    The big downside of the film is that it always feels slightly contrived.
    • 43 Metascore
    • 50 William Arnold
    While Madison is earnest and inoffensive, it offers no surprises, few fascinating characters and a hackneyed script.
    • 69 Metascore
    • 42 William Arnold
    A botched job: the various relationships and personal histories of the characters are never made clear, the last act is glaringly disjointed, the writing and direction are all over the map.
    • 48 Metascore
    • 50 William Arnold
    Morrow and Linney are gifted, extremely likable actors, and the movie has some ingratiating moments and a seductive soundtrack. But there's a by-the-numbers inevitability to every scene, and it never clicks into place to be anything special.
    • 66 Metascore
    • 75 William Arnold
    A cogent, optimistic and mostly entertaining slice of ghetto life.
    • 45 Metascore
    • 83 William Arnold
    A mostly fascinating, often frustrating, boldly uncommercial Hollywood version of a boldly uncommercial art film. It's very atypical of the previous work of both director and star, and it's as personal a film, I suspect, as Cruise will ever make.
    • 45 Metascore
    • 75 William Arnold
    It's a rare film that's about social class in American life, and Bellingham writer-director Enid Zentelis explores its hidden structure and silent barriers in a novel, subtle way that makes its points without hitting us over the head with them.
    • 48 Metascore
    • 67 William Arnold
    Truth be told, the film is routine: the kind of one-note war movie that Hollywood used to crank out by the dozens every year in the 1950s.
    • 46 Metascore
    • 58 William Arnold
    The movie is mainly an excuse to display special-effects gags in the form of the various miracles manifested -- some of which are highly imaginative, some of which aren't.
    • 45 Metascore
    • 58 William Arnold
    It's a moderately compelling sci-fi action movie with a handful of scary scenes -- though nothing at all special, and only a shadow of the original or even its 1978 remake.
    • 46 Metascore
    • 58 William Arnold
    While Keira Knightley brightens things up as Guinevere, the casting is otherwise lackluster.
    • 79 Metascore
    • 83 William Arnold
    It's a consciousness-raising personal odyssey in the tradition of such recent indie hits as "Sideways" and "About Schmidt" -- only less obviously comedic and, as always with Jarmusch, blissfully unresolved.
    • 45 Metascore
    • 75 William Arnold
    A bit smarter than it seems at first glance, and ends up being a rather colorful and fascinating -- and often imaginatively Capraesque.
    • 58 Metascore
    • 83 William Arnold
    When it's good, there is no more riveting movie genre than a courtroom drama, and Class Action is one of the best in ages - perhaps since "The Verdict" in 1982. [15 Mar 1991]
    • Seattle Post-Intelligencer
    • 64 Metascore
    • 75 William Arnold
    The first hour of the movie struck me as being truly inspired, and I haven't laughed so hard all year.
    • 74 Metascore
    • 0 William Arnold
    The attainment it achieves is in the depths of pointless, mean-spirited exploitation.
    • 34 Metascore
    • 50 William Arnold
    The writing here is truly dismal.
    • 45 Metascore
    • 50 William Arnold
    It never quite takes off.
    • 60 Metascore
    • 75 William Arnold
    As the film loses its focus on the "Protocols" phenomenon -- it becomes too scattered to have the impact Levin is after.
    • 42 Metascore
    • 67 William Arnold
    Definitely still beating a dead dinosaur here, but the film is leaner, more exciting and superior in every way to the last outing.
    • 59 Metascore
    • 50 William Arnold
    Not terrible, but distinctly disappointing, not nearly as engaging or thrilling as its premise seems to promise.
    • 64 Metascore
    • 91 William Arnold
    It's eye-filling, well-cast, often very funny and executed with great imagination and flair.
    • 41 Metascore
    • 42 William Arnold
    The cumulative effect of the movie is repulsive and depressing.
    • 58 Metascore
    • 67 William Arnold
    With its machine-gun editing, extremely loud (mostly rap) soundtrack, occasional music-video interlude and overall in-your-face sensibility, it's a movie that's determined to chase anyone past age 30 or so right out of theater.
    • 54 Metascore
    • 58 William Arnold
    As this all plays out -- and basically segues into "King Kong" -- the movie wins its biggest gamble: its entirely computer-generated monster works.
    • 88 Metascore
    • 83 William Arnold
    A funny, sad, scary and ultimately tragic coming-of-age drama/black comedy that skillfully -- and uncompromisingly -- creates its own world and uniquely pessimistic vision.
    • 70 Metascore
    • 75 William Arnold
    The movie goes down very easily.
    • 71 Metascore
    • 50 William Arnold
    In the end, it's just a pointless downer.
    • 61 Metascore
    • 83 William Arnold
    An absorbing slice of the New China and a fascinating duel between two magnificently stubborn antagonists.
    • 80 Metascore
    • 91 William Arnold
    Flat-out one of the best Bonds ever.
    • 56 Metascore
    • 75 William Arnold
    Foxx is magnetic in the lead, and the subplot in which he bonds with his Saudi police liaison (Ashraf Barhom, giving the movie's best performance) is touching.
    • 39 Metascore
    • 25 William Arnold
    It is a foul-mouthed British underworld comedy so they may be hoping it will attract the hip audience of films like "Snatch" and "Lock, Stock and Two Smoking Barrels."
    • 55 Metascore
    • 67 William Arnold
    It's more intelligent than most Hollywood movies you'll find in the heat of summer, and its saving grace is the quality of its acting, including Jackson's uncompromising turn as the old fighter, and delicious bits by David Paymer and Alan Alda as veteran editors.
    • 42 Metascore
    • 58 William Arnold
    The film's creepier moments are pathetically weak, and its thematic update fails to attain the minimal credibility that even a wild farce needs to sustain itself.
    • 78 Metascore
    • 100 William Arnold
    No one does this genre better than actor-writer-director Christopher Guest.
    • 45 Metascore
    • 58 William Arnold
    It is long, mediocre and rather pointless. [07 Apr 1995]
    • Seattle Post-Intelligencer
    • 81 Metascore
    • 91 William Arnold
    It's a rich, engrossing ensemble drama that reveals itself very slowly, is filled with multidimensional characters and multi-layered performances, and works toward an amazingly verisimilitude. [19 Jan 1996]
    • Seattle Post-Intelligencer
    • 65 Metascore
    • 75 William Arnold
    What makes this film truly chilling is the fact first-time feature filmmaker Scott Elliott and his writers somehow make every step of this descent harrowingly believable.
    • 68 Metascore
    • 75 William Arnold
    Cronenberg is one of the cinema's true originals, and a trip to his spooky world is always a harrowing, thought-provoking experience.
    • 68 Metascore
    • 42 William Arnold
    But the main reason you might find the film a bad trip is that its 30-year-old Holden Caulfield-type hero is so harrowingly unsympathetic: unpleasant, unappealing, self-pitying.
    • 52 Metascore
    • 58 William Arnold
    It's hard to know what to make of the thing, though it has a sleazy charm, it's never boring and it goes a certain distance on Samuel L. Jackson's conviction.
    • 63 Metascore
    • 75 William Arnold
    The only downside is that Bier's vision of upper-middle-class America does not always seem authentic.
    • 80 Metascore
    • 83 William Arnold
    Kidman's Virginia Woolf is already controversial -- Yet there's something fierce, noble and deeply affecting in her work that mirrors Woolf's prose style, and her turbulent presence is the soul of the movie.
    • 36 Metascore
    • 25 William Arnold
    There's a huge subplot that makes absolutely no sense at all and, in the end, the only thing the movie has going for it is Diesel's Neanderthal charm.
    • 59 Metascore
    • 58 William Arnold
    A kind of "Seabiscuit"-lite.
    • 73 Metascore
    • 75 William Arnold
    An utterly nihilistic, harrowingly upsetting vision of hell on earth.
    • 51 Metascore
    • 67 William Arnold
    Imaginative and frequently thrilling, and the love-hate relationship of its protagonists is quite compelling; Woo is always at his best in portraying the complexities of male bonding under intense pressure and violence.
    • 65 Metascore
    • 91 William Arnold
    An unusually satisfying and inspiring historical epic from one of contemporary cinema's best filmmakers.
    • 24 Metascore
    • 58 William Arnold
    Mr. Deeds, is -- perhaps predictably -- pretty much of a disaster. It's a bit like someone scrawling a mustache on the Mona Lisa.
    • 40 Metascore
    • 50 William Arnold
    It's a strange and strangely unaffecting little drama -- but played very flat, with no particular emotional impact sought or achieved.
    • 54 Metascore
    • 83 William Arnold
    The story is so compelling and the movie is such a pleasure to the eyes and ears.
    • 42 Metascore
    • 42 William Arnold
    The film's deliberate pace, its constantly confusing structure, its thematic vagueness and its clumsy and often embarrassingly amateurish Garden of Eden sequences combine to make The Loss of Sexual Innocence at best, a tough sit; at worst, a self-consciously arty parable of a self-indulgent filmmaker. [30 Jun 1999]
    • Seattle Post-Intelligencer
    • 73 Metascore
    • 100 William Arnold
    Penn's direction is amazingly sharp and intuitive, full of masterful touches that give an epic dimension and scope to the parable.
    • 93 Metascore
    • 100 William Arnold
    An unusual, visually hypnotic, American Gothic historical epic that traces the rise and tragic fall of a Western mining magnate of the Gilded Age.
    • 44 Metascore
    • 67 William Arnold
    It still celebrates the vigilante spirit and justice delivered with a biblical swiftness, but it has been cleansed of much of its gratuitous violence and more offensive red-neck sensibilities. Mercifully, it's also a full 40 minutes shorter than the original.
    • 66 Metascore
    • 58 William Arnold
    While all the "Mission" plots are convoluted and slightly preposterous -- the keyword in the title is "Impossible" -- the latest is just this side of insultingly stupid. The longer you think about it, the less sense it all makes.
    • 57 Metascore
    • 75 William Arnold
    As good as it is in pieces, its protagonists are distancing, its story is tangled, its film-noir cynicism is oppressive and unglamorous, and it just doesn't leave us with the satisfying unity of the kind of great movie it wants to be.
    • 81 Metascore
    • 75 William Arnold
    It's absorbing and often excruciatingly suspenseful, and it gives Viggo Mortensen a strong, change-of-pace vehicle to follow up his "Lord of the Rings" triumph.
    • 78 Metascore
    • 83 William Arnold
    An extraordinarily absorbing neo-realistic tragedy.
    • 45 Metascore
    • 25 William Arnold
    It's an unimaginative, mean-spirited affair that makes you hate yourself for laughing at it, and it's so devoid of anything close to wit, subtlety or sophistication that it stands as damning evidence that Hollywood has surrendered wholesale to stupidity and crassness.
    • 45 Metascore
    • 25 William Arnold
    A sleazy, uninspired, pathetically unfunny sex farce.
    • 75 Metascore
    • 67 William Arnold
    It's not nearly as good as "Women," but it's still his most likable film since, and there is some definite magic in it. [5 Apr 1996]
    • Seattle Post-Intelligencer
    • 70 Metascore
    • 91 William Arnold
    With his usual intelligence, technical virtuosity (the reverse-aging effects are astounding) and storytelling panache, director Fincher gives the film a power and unity that make nearly three hours go by in a flash and pulls its diverse elements together to be something unique for a Hollywood movie -- a true spiritual experience.
    • 71 Metascore
    • 50 William Arnold
    It's a much more interesting and engrossing film than its somewhat nefarious reputation may indicate -- though, granted, elements of it are very hard to take, and it finally leaves you feeling pretty down and out.
    • 89 Metascore
    • 91 William Arnold
    Ironically, the challenge of directing a Japanese-language film with a non-English-speaking cast seems to have brought out the very best in Eastwood. His vision is alternately intimate and sweeping, his touch never seemed more light and sure, and several of his scenes are so delicate, dynamic and prototypically Japanese they could have been directed by Akira Kurosawa.
    • 67 Metascore
    • 91 William Arnold
    A delectable must-see.
    • 82 Metascore
    • 83 William Arnold
    It's a gripping outdoor adventure and the movies' most inspiring epic survival story in years.
    • 49 Metascore
    • 58 William Arnold
    It's a lifeless little caper piece that never develops the magic and intellectual fascination it needs to bond with an audience.
    • 70 Metascore
    • 75 William Arnold
    The overall saga is moving, the performances are first-rate, the production values (which do not rely on the usual cartoonish CGI effects) are strong, and Carion captures the special insanity of stalemated trench warfare with an unusual horrific flair.
    • 79 Metascore
    • 91 William Arnold
    The movie offers one authentically terrific performance: Beach as Hayes. He's so painfully sympathetic in the role that he absolutely breaks your heart, and he looks like the front-runner in the best-supporting actor Oscar race.
    • 77 Metascore
    • 75 William Arnold
    In the film's stronger moments, the artist in her definitely seems to be saying that the impulse to retreat into cultural fundamentalism carries dire risks, that much of what is old and traditional needs changing and there are some things about the detested process of globalization that are wonderfully liberating.
    • 31 Metascore
    • 58 William Arnold
    Anyone in the market for an overblown and totally mindless adventure-comedy will certainly get his money's worth.
    • 89 Metascore
    • 67 William Arnold
    It's exuberant, exhilarating, poetic and -- intentionally and not -- rather silly.
    • 69 Metascore
    • 50 William Arnold
    Greenstreet captures all the hubbub on film but, while he makes the point that we are indeed a house divided, he can't quite persuade us that this particular situation is a metaphoric example of our national malaise.
    • 65 Metascore
    • 75 William Arnold
    Brosnan pulls out all the stops in his quest to be the last word in crude boorishness, only slightly relieved by the midlife soul-searching. Whether the public will buy him in this extreme role is another question. But it's a fearless, and fairly skilled, comic performance.
    • 36 Metascore
    • 25 William Arnold
    It comes off as tedious, pretentious, self-indulgent, talky and so garbled it might have been improvised by the actors.
    • 57 Metascore
    • 58 William Arnold
    Wonderfully cast but underwhelming and never especially believable.
    • 50 Metascore
    • 83 William Arnold
    By far the best thing about it is Zeta-Jones.
    • 57 Metascore
    • 58 William Arnold
    Has almost none of the nail-biting suspense and fascinating character interplay that made the original so authentically terrifying.
    • 51 Metascore
    • 75 William Arnold
    Vividly captures the joy of sailing.
    • 47 Metascore
    • 75 William Arnold
    An effective political lampoon.
    • 56 Metascore
    • 25 William Arnold
    The film's one saving grace is Ledger (Mel Gibson's son in "The Patriot").
    • 34 Metascore
    • 42 William Arnold
    A poorly written collection of comic-book movie cliches that offers nothing new to the genre, generates very little in the way of action thrills and plays like a self-important, humorless rip-off of "Kill Bill."
    • 68 Metascore
    • 100 William Arnold
    The movie grabs us from its heart-pounding opening sequence and pulls us inexorably along its trajectory with the grip of the last gruesome act of a Greek tragedy. Its fascination is not what happens but HOW it happens.
    • 100 Metascore
    • 100 William Arnold
    The final scene of Balthazar's demise is one of cinema's most moving and haunting moments.
    • 69 Metascore
    • 91 William Arnold
    A clever, charming, laugh-out-loud-funny road comedy that works in almost every scene.
    • 72 Metascore
    • 100 William Arnold
    It's an immensely successful movie - and far and away the most emotionally charged, psychologically uneasy and diabolically suspenseful thriller Polanski's made since his heyday. [27 Jan 1995, p. 26]
    • Seattle Post-Intelligencer
    • 40 Metascore
    • 75 William Arnold
    The film is stylish, the compromising elements that usually junk up a Hollywood "date movie" are nowhere to be seen, the ensemble of supporting actors is strong and, despite a certain woodenness, Hartnett is appealing and mostly very believable.
    • 40 Metascore
    • 75 William Arnold
    It's done with an agreeable confidence and flair, the actors all fit comfortably in their roles and the effects are fun.
    • 67 Metascore
    • 67 William Arnold
    One of the American cinema's rare excursions into pure autobiography: the movie is Montiel's own coming-of-age story, with little or nothing disguised as fiction.
    • 63 Metascore
    • 83 William Arnold
    Like Lyne's other heavy-breathers, this one has glossy production values, a relentlessly somber mood and its share of sexual gymnastics. But it's atypical and unique in the way it builds a volcano waiting to erupt with nail-biting anticipation and sympathy for all three characters.
    • 45 Metascore
    • 67 William Arnold
    Spurlock is good company: a more likable, less abrasive, less manipulative Michael Moore.
    • 47 Metascore
    • 75 William Arnold
    Veteran British director Eric Till otherwise does a credible job of sweeping us through this huge life, and his eye for detail combines with the Oscar-worthy production design and a succession of striking Eastern European locations to create a rich visual tapestry of the Middle Ages.
    • 47 Metascore
    • 75 William Arnold
    In its best moments, the film works as both an exciting and formula-breaking action-adventure and as an enjoyably sappy tearjerker.
    • 58 Metascore
    • 25 William Arnold
    It has the low-budget look and feel of an indie dating comedy -- and not a very good one at that.
    • 49 Metascore
    • 0 William Arnold
    It's by far the worst comedy either he (Carrey) or the Farrelly Brothers have ever made.
    • 53 Metascore
    • 42 William Arnold
    Johnny Suede seems in every way a pale imitation that is so vacuous and self-consciously hip that it just fades into nothingness. [13 Nov 1992]
    • Seattle Post-Intelligencer
    • 37 Metascore
    • 67 William Arnold
    This one is a kiddie show all the way, with characters as broad and one-dimensional as a billboard, a vision of good and evil as simple as a bumper sticker and a tiresome chimpanzee mugging through every other scene like something from a bad Tarzan movie.
    • 42 Metascore
    • 58 William Arnold
    The affair of the necklace itself is so complex and many-sided that it would take a Sidney Lumet to do justice to it on film.
    • 87 Metascore
    • 100 William Arnold
    A brilliantly conceived, boldly executed, cumulatively thrilling fantasy epic that expands the art of film and is sure to be the middle link of one of the movies' greatest trilogies.
    • 79 Metascore
    • 91 William Arnold
    It's a buoyant, often thrilling piece of animation that more or less does for the Central African rain forest what "The Lion King" did for the East African savanna.
    • 52 Metascore
    • 75 William Arnold
    A rarity: A fun, entertaining 'G' movie.
    • 35 Metascore
    • 50 William Arnold
    The best thing -- maybe the only good thing -- about the expensive sci-fi movie, Jumper, is its high-concept premise, which gives its hero the power of teleporting himself anywhere on the globe in the blink of an eye: from the Coliseum of Rome to the North Pole.
    • 72 Metascore
    • 67 William Arnold
    Well-cast and sporadically gripping.
    • 76 Metascore
    • 91 William Arnold
    Though it seems long and its pace occasionally lags, it certainly struck me as a well-mounted, gloriously eye-filling and often exhilarating entertainment that brings back some of the delicious excitement of the great movie musicals.
    • 23 Metascore
    • 50 William Arnold
    Outrageously confident and wearing a kilt through the mayhem, Jackson proves once again that he has few equals in bringing off a broad, over-the-top lead.
    • 83 Metascore
    • 91 William Arnold
    Forget "Raising Helen" and "The Notebook," this is the movie summer's most touching young romance.
    • 25 Metascore
    • 25 William Arnold
    The script and direction by Irish filmmaker Mary McGuckian is just deadly.
    • 35 Metascore
    • 50 William Arnold
    Makes a serviceable summer shoot-'em-up, but it's surprisingly trashy and rather stupid, and its efforts toward being a gripping military drama in the Tom Clancy tradition are fairly pathetic.
    • 64 Metascore
    • 50 William Arnold
    A fairly loathsome and shallow movie about loathsome and shallow people, but it's almost worth catching to see star Christian Bale chew up the scenery.
    • 81 Metascore
    • 83 William Arnold
    The music, art direction and camerawork blend together with an integrity and scope that's wonderfully exhilarating. Every frame seems to communicate the grandeur, power and fatal pull of the sea.
    • 33 Metascore
    • 25 William Arnold
    As a director, Duchovny is in big trouble every frame of the way. His characters ring false, his scenes seem improperly motivated in a glaring way, and his distasteful obsession with imagery of unflushed cigarette butts bobbing in a toilet is beyond inexplicable.
    • 64 Metascore
    • 58 William Arnold
    It's an interesting and likably ambitious movie with an ensemble of mostly engaging character vignettes, but, sadly, it misses its mark.
    • 65 Metascore
    • 75 William Arnold
    Rather incredibly ends up being a kind of inspirational upper.
    • 55 Metascore
    • 67 William Arnold
    Hopkins' Picasso is a first-rate performance.... With his intense stare, his air of subtle lechery, and his life-devouring zest, he not only looks uncannily like the real Picasso, he was actually able to convince me that he was Picasso. [4 Oct 1996]
    • Seattle Post-Intelligencer
    • 41 Metascore
    • 58 William Arnold
    It's mostly forced and predictable, too much of the physical comedy falls very flat.
    • 56 Metascore
    • 75 William Arnold
    CQ
    Good-natured and fun, the Austin Powers silliness of the era shines through, and Coppola family art director Dean Tavoularis ("Apocalypse Now," "The Godfather" trilogy) makes the film -- and its kitschy film-within-the-film -- look consistently terrific.
    • 40 Metascore
    • 50 William Arnold
    Williams' self-conscious and rather bland performance never comes close to bringing his character to life.
    • 46 Metascore
    • 83 William Arnold
    A rousing, eye-filling, song-and-dance period musical spectacular that - despite a certain inability to decide whether it wants to be a kids' movie or "Les Miserables" - is a surprisingly enjoyable and entertaining throwback to the great movie musical style of the '40s and '50s. [10 Apr 1992]
    • Seattle Post-Intelligencer
    • 45 Metascore
    • 50 William Arnold
    It disrespects Seattle. Not only is this yet another filmed-in-Vancouver movie that's supposed to be set here, it takes place in a blinding rainstorm of the kind only a Hollywood rain machine can make. As we all know, it never rains like that in Seattle.
    • 81 Metascore
    • 75 William Arnold
    An almost documentary reality and voyeuristic appeal.
    • 45 Metascore
    • 50 William Arnold
    The premise clicks, the stars couldn't be more likable, and It Takes Two is as cute and imaginatively directed a family movie as we've had all year. [17 Nov 1995]
    • Seattle Post-Intelligencer
    • 61 Metascore
    • 67 William Arnold
    An absorbing little drama full of unexpected revelations, keen insights into the Anglo and Hispanic cultures of L.A., and strong supporting performances.
    • 85 Metascore
    • 67 William Arnold
    The characters are not hugely compelling, the performances never completely grab us, and much of the story, while visually arresting, is dramatically tedious.
    • 84 Metascore
    • 83 William Arnold
    This latest remake goes back to the spirit and letter of Eric Knight's 1940 novel.
    • 74 Metascore
    • 50 William Arnold
    With the original stage cast, the film is doggedly faithful to the play but has failed to translate it into much of a film.
    • 36 Metascore
    • 75 William Arnold
    Unashamedly positive look at the rise of the '60s counterculture.
    • 62 Metascore
    • 100 William Arnold
    An excessive, expressionistic, agreeably nonjudgmental period biography that carries with it an enormous emotional wallop. [01 Mar 1991]
    • Seattle Post-Intelligencer
    • 48 Metascore
    • 25 William Arnold
    Wants to be an offbeat, hard-edged, inspirational sports movie, but it misses its target by a country mile.
    • 73 Metascore
    • 83 William Arnold
    Above all, I'm Not Scared pays off our emotional investment. In the end, its elements come together with the kind of genuinely thrilling, deeply satisfying climax that even the better Hollywood movies just can't seem to pull off anymore.
    • 59 Metascore
    • 67 William Arnold
    It dares to test the audience in several ways: It may not be Asimov but its plot is truly labyrinthine, it works a specific theme (the very real possibility that robots will evolve on their own) and it's happy to end itself in a shroud of enigma.
    • 41 Metascore
    • 25 William Arnold
    Many regular moviegoers will be appalled by its gleeful crudity and saddened by the spectacle of three icon stars mugging through a farce that's not that many notches above "Jackass: The Movie."
    • 89 Metascore
    • 91 William Arnold
    Like all great film noir, however, the real delight of this film is in its mood and atmosphere.
    • 68 Metascore
    • 75 William Arnold
    the film is well cast and the script is mostly faithful to the novel. Visually, it's probably the most accurate evocation of Hardy's world ever put on film. [01 Nov 1996]
    • Seattle Post-Intelligencer
    • 56 Metascore
    • 83 William Arnold
    W.
    Seems a much more even-handed and thoughtful take on the man than anyone might have expected.
    • 64 Metascore
    • 58 William Arnold
    Each star has his moments, and the supporting cast is good, especially Walken, playing one of his less extreme characters; Jane Seymour as his promiscuous wife; and the stunning Rachel McAdams as their daughter and Wilson's love interest.
    • 43 Metascore
    • 75 William Arnold
    Like Lurie's previous two films, it's also simplistic and somewhat muddled.
    • 46 Metascore
    • 25 William Arnold
    As dreary an hour-and-a-half as you could ever want to spend at the movies.
    • 90 Metascore
    • 75 William Arnold
    It's essentially a one-joke situation, but screenwriter Charlie Kaufman and first-time director Spike Jonze definitely make the most of it.
    • 49 Metascore
    • 50 William Arnold
    The movie also qualifies as a kind of low-rent, male version of "Dreamgirls," but -- while many of the numbers are pleasant -- it doesn't have the moxie to work as a musical.
    • 35 Metascore
    • 42 William Arnold
    The film's technological selling point -- having a computer-animated Scooby in a mostly live-action world -- is strangely unimpressive. In fact, it's virtually unnoticeable: a testament perhaps to the audience's increasing knowledge that in today's CG-driven Hollywood, all movies are cartoons.
    • 66 Metascore
    • 83 William Arnold
    Its script is sharp, its dialogue is acerbic, its stars could hardly be better and, in its more sparkling moments, it exudes some of the flavor and charm of the later Hepburn-Tracy comedies.
    • 42 Metascore
    • 75 William Arnold
    Finally becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s.
    • 72 Metascore
    • 100 William Arnold
    Hilarious, near-flawless.
    • 29 Metascore
    • 58 William Arnold
    The movie has a suspenseful moment or two, and it's never hard to watch, but it's ultimately one more totally forgettable Hollywood thriller.
    • 58 Metascore
    • 91 William Arnold
    It's an exciting action spectacle and a thoughtful, cumulatively moving family drama.
    • 70 Metascore
    • 50 William Arnold
    Ostensibly a love story, the film is also handicapped by Téchiné's strong gay sensibility and clear lack of romantic interest in his characters.
    • 48 Metascore
    • 67 William Arnold
    Much of it is funny and endearing, and its toned-down star, Adam Sandler, is as winning as he's ever been.
    • 68 Metascore
    • 75 William Arnold
    It's well-written, well-cast and skillfully directed in every scene, and, at the same time, it doesn't come together with enough impact to be hugely memorable.
    • 39 Metascore
    • 67 William Arnold
    But the movie's vital signs improve remarkably in the second half, and especially in the last act. The proceedings suddenly pick up some screwball charm, the writing improves (with several truly inspired one-liners tossed in here and there) and the secondary characters begin to click.
    • 50 Metascore
    • 50 William Arnold
    It's endlessly confusing.
    • 50 Metascore
    • 67 William Arnold
    Kline saves the movie and makes it something special. He does this not only by mastering the dialect and mannerisms and convincing us he is French, but by skillfully underplaying the character and slowly revealing his humanity. It's a master star turn: He makes a better Gerard Depardieu than Gerard Depardieu. [5 May 1995, p.28]
    • Seattle Post-Intelligencer
    • 33 Metascore
    • 25 William Arnold
    Since the expensive new movie version of the popular video game, Tomb Raider, is very true to its origins, it's a colossal bore.
    • 46 Metascore
    • 67 William Arnold
    Sporadically enjoyable but instantly forgettable comedy.
    • 79 Metascore
    • 75 William Arnold
    It's aimed squarely at a young dating audience, and is not likely to be hugely captivating for anyone out of that demographic.
    • 67 Metascore
    • 67 William Arnold
    Unfortunately, the film assumes viewers have such a vast knowledge of Fellini's life and films that it's likely to play best to graduate film students.
    • 49 Metascore
    • 67 William Arnold
    This 38th Allen film (and third in a row to be set in London) is a drama about two brothers that's so heavy in tone it seems inspired by Greek tragedy and the grimmest '40s film noir.
    • 65 Metascore
    • 67 William Arnold
    An engaging but essentially routine tragic romance.
    • 74 Metascore
    • 75 William Arnold
    Bounces between funny and chilling.
    • 54 Metascore
    • 75 William Arnold
    A teary appreciation of the value of a good teacher, the joy of music and the payoffs of discipline and hard work.
    • 52 Metascore
    • 42 William Arnold
    A sad, sad, sad, sad rip-off.
    • 31 Metascore
    • 67 William Arnold
    It's only a notch above the routine, and it obeys all the conventions of its tired formula, but it also tones the anarchy with a serious edge and it works a surprisingly effective vein of race-relations satire.
    • 68 Metascore
    • 42 William Arnold
    Every frame of the way, it's eminently clear that Primer is the work of an engineer, not a film- maker.
    • 68 Metascore
    • 83 William Arnold
    Its overall effect is haunting, hypnotic and moving in a profound and unexpected way.
    • 72 Metascore
    • 83 William Arnold
    The movie misfires: It's numbingly cold and soulless, and the zeitgeist stays far beyond its reach. But it's so visually striking you almost don't notice, its relentlessly somber mood has a certain masochistic appeal and, while hardly a career-redefining performance, Hanks is as winning as ever.
    • 67 Metascore
    • 75 William Arnold
    The movie whips itself into being a surprisingly effective love story. [16 Aug 1991]
    • Seattle Post-Intelligencer
    • 68 Metascore
    • 75 William Arnold
    Whatever it is, it's totally Kubrickian: Its scenes have both an edge and an extraordinary visual perfection that could come from no other filmmaker.
    • 81 Metascore
    • 91 William Arnold
    Broad and funny, its sensibility is very campy and it's out to be loved by everyone.
    • 58 Metascore
    • 75 William Arnold
    It scores few points for originality, but it's a fuzzier, less pretentious and more enjoyable movie.
    • 67 Metascore
    • 83 William Arnold
    Makes the translation with all its wit, incisive dialogue and eccentric characters intact, and then some.
    • 49 Metascore
    • 75 William Arnold
    Surprise! After a clumsy opening, Guess Who goes down very smoothly. Its cast is appealing, its script is often clever and imaginative.
    • 61 Metascore
    • 75 William Arnold
    It assumes considerable knowledge of his life and times. But, with even a little of the familiarity it demands, the movie is something special.
    • 42 Metascore
    • 25 William Arnold
    As a thriller, Next goes a certain distance on Cage's sad-sack charm and sense of humor, but it does nothing with its intriguing premise, and it's mostly just one more tedious and progressively dumb collection of Hollywood action clichés.
    • 48 Metascore
    • 67 William Arnold
    Even if it lacks the finesse of Franklin's earlier work, High Crimes moves like a bullet.
    • 65 Metascore
    • 50 William Arnold
    Mystery Men must have seemed magically goofy on storyboards, but has somehow turned into unappealing mush by the time it made it to the screen.
    • 43 Metascore
    • 25 William Arnold
    The movie is just this side of terrible. It misses all the charm and fun of the original. Allen's mugging is incorrigibly unfunny.
    • 66 Metascore
    • 50 William Arnold
    Ponderously plotted, poorly cast, visually undistinguished and devoid of any real verve or charm.
    • 57 Metascore
    • 75 William Arnold
    After its rough opening, Smart People settles down to be a funny, wryly enjoyable, effortlessly poignant parable of family life and a splendid showcase for its cast -- especially Page, who handily steals the movie and proves that her "Juno" success was no fluke.
    • 50 Metascore
    • 67 William Arnold
    Essentially works, even though the script is a mess and John Singleton's direction is often clumsy and heavy-handed to an annoying degree.
    • 63 Metascore
    • 75 William Arnold
    Subtly suggests it may not be all that much different from the delusions by which other cultures are structured.
    • 37 Metascore
    • 58 William Arnold
    By most of the ways movies are usually judged, pretty much of a mess. The camerawork is jerky and distracting, the dialogue is cliched and the story makes so little sense that the script seems to have been improvised by the actors as they went along.
    • 69 Metascore
    • 100 William Arnold
    The movie is never mechanical or emotionally contrived, and at its heart is a guileless, enchanting performance by Tautou.
    • 69 Metascore
    • 42 William Arnold
    The masochistic brutality it's selling still seems glaringly out of step with the current mood of the country.
    • 72 Metascore
    • 58 William Arnold
    JFK
    It is preachy, didactic and heavy-handed as only an Oliver Stone movie can be. And yet ... and yet... despite all this, the film has an undeniable cumulative power. [20 Dec 1991]
    • Seattle Post-Intelligencer

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