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Tag Archives: film criticism

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4.5 yaps

Class of 1994: “The Hudsucker Proxy”

Few Coen Brothers films spike the vein of pure pleasure so easily — an irresistible romance, unpredictably riotous comedy & heartfelt hosanna to the common man. Continue reading

1 yaps

The Legend of Hercules

“300” is one of many films this badly wants to be. Move the decimal point three places to the left, and that’s about the percentage of good stuff here. Continue reading

3 yaps

Paranormal Activity: The Marked Ones

For all of the momentum and promise it shows in the early going, “The Marked Ones” more or less ends up marking time for this franchise’s moronic mythology. Continue reading

4 yaps

Class of 1983: “Scarface”

A dishonest character choice sets “Scarface” back, but it’s still a bleakly funny, compulsively watchable template for the criminal deconstruction of the American Dream. Continue reading

4 yaps

Saving Mr. Banks

This look at the making of “Mary Poppins” is the charming confection you expect it might be, but here, spoonfuls of salt make the medicine go down. Continue reading

5 yaps

Blue is the Warmest Color

With literary elegance, two perfect performances and a powerful erotic charge that’s explicit but not exploitative, this French epic is one of the year’s best. Continue reading

4.5 yaps

Class of 1983: “Something Wicked This Way Comes”

Like all of Ray Bradbury’s greatest works, it shines a harsh light on the true cost of shame, greed, vanity, anxiety and other very human fears. Continue reading

4.5 yaps

Class of 1983: “The Dead Zone”

In a career built on unsettling, uncompromising bleak visions, “The Dead Zone” is among David Cronenberg’s most poignant, powerful and strangely humane works. Continue reading

3.5 yaps

Class of 1983: “Twilight Zone: The Movie”

It’s the middle ground between wowing and worthless, between so great and so what. It is an area which we call “Twilight Zone: The Movie.” Continue reading

4 yaps

Class of 1993: Demolition Man

Showing the Hollywood sign in flames is not for nothing, for “Demolition Man” torches suppositions that a Stallone-Snipes movie must be brain-dead. Continue reading

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