|
| 1. |
|
10/19/11 |
Moderate |
 "Neither side seems to represent empirical truth... we see enough of director Oliver Laxe's brilliantly constructed deconstruction of 'truth' versus 'fiction' to know to question the authorship of every frame." |
| 2. |
|
06/09/11 |
Poor |
 "Most of Vaughn's choices are inspired by the early-'60s setting, which offers ample excuse to tart up the actresses in go-go boots and miniskirts..." |
| 3. |
|
06/08/11 |
Poor |
"...dumbass, single-trick revisionist... Lacking a single memorable joke or striking image... as perfunctory and passionless as would-be franchise resurrections get." |
| 4. |
|
03/16/11 |
Fair |
 "...a limp but at least vaguely topical recession comedy turns into a faint Xerox of standard Sundance pap... indie with the edges sanded down completely." |
| 5. |
|
03/17/11 |
Fair |
"Paul Giamatti continues contemporary cinema's longest pre-midlife crisis as Mike, yet another schlubby 40-something flummoxed by mundane personal problems." |
| 6. |
|
10/05/11 |
Fair |
 "...unavoidably plays like a mash-up of the recent romantic comedies that it should have beat to market." |
| 7. |
|
10/06/11 |
Fair |
"...even though it's evident from Colin's first frame onscreen that 21 will be Ally's lucky number, at least her roundelay through exes allows for a few scant moments of inspired lunacy..." |
| 8. |
|
04/04/12 |
Fair |
 "Van Peebles's attempt to wed his kids' generational moment to a classic coming-of-age template falters in its message-obsessed execution." |
| 9. |
|
04/05/12 |
Fair |
"A self-financed passion project... grew out of writer-director-star Mario Van Peebles's self-described 'incognegro' infiltration of the social life of his teenage kids..." |
| 10. |
|
12/07/11 |
Good (Not Great) |
 "Brilliantly edited by Joe Bini... By treating Kevin's evil as a mystery to be solved, Ramsay only succeeds in making what was once allusive banal." |
| 11. |
|
12/08/11 |
Good (Not Great) |
"The film is essentially constructed as a long, associative montage, flowing back and forward in time at varying speeds. Mostly, there is blood or its symbolic equivalents." |
| 12. |
|
04/21/11 |
Fair |
 "Beautifully designed, sufficiently choreographed, insipid but watchable..." |
| 13. |
|
02/01/12 |
Poor |
 "...the work of a woman who apparently hasn't spent time with normal human beings in a while.... Madonna's anachronistic use of music is the least of her movie's problems." |
| 14. |
|
12/08/11 |
Poor |
"...falls increasingly deeper into the fetishization it takes as its subject, repeatedly imbuing clothes and jewelry with heavy symbolism, forgetting any impulse to critique." |
| 15. |
|
07/15/10 |
Excellent |
 "Long montages mimic what filmmaker Gandini refers to as Italian television's 'flow of images,' dreamy blankets of footage removed from their original contexts..." |
| 16. |
|
02/11/10 |
Poor |
 "...rote episodic construction reduces each of its couplings to a couple of shopworn money shots, flattening any potential for their chemistry or our vicarious pleasure." |
| 17. |
|
02/10/10 |
Poor |
"...has relentless, nonsensical forward motion.... Think of it as the 'Crash' of romance, the 'Short Cuts' of bullshit." |
| 18. |
|
10/03/12 |
Weak |
 "The stylistic consistencies between the segments only draw attention to the inconsistencies in performance... bad acting quickly undermines the 'authenticity'..." |
| 19. |
|
10/04/12 |
Weak |
"...all of the segments aim to mimic the filmed artifacts of the social life and communication of the 'video or it didn't happen' generation." |
| 20. |
|
07/12/12 |
Fair |
 "...lots of unnecessary histrionics and ostentatious zooms, with both the story and the improv-like dialogue predicated on contrivances and glaring improbabilities." |
