David Denby

Kevin Smith turns out to be reverent after all: he wants to separate true love from mere copulating for money, but his story mixes romance and porn so inextricably that he seems confused, and the movie trips over its own conceits.

What Lars von Trier has achieved is avant-gardism for idiots. From beginning to end, Dogville is obtuse and dislikable, a whimsical joke wearing cement shoes. [29 March 2004, p. 103]

The movie is overwrought and unfocussed.

There is evidence that at some point this project (which was initiated by Oliver Stone) might have been serious, but Campbell has produced little more than a churning, vivid backdrop for romance. [10 November 2003, p. 129]

This movie makes one grateful that a serious European art cinema still exists. [15 April 2002, p. 88]

A seriously scandalous work, beautifully made, and it deserves a sizable audience that might argue over it, appreciate it -- even hate it. [1 April 2002, p. 98]

A sombrely beautiful dream of the violent Irish past. Refusing the standard flourishes of Irish wildness or lyricism, Loach has made a film for our moment, a time of bewildering internecine warfare.

The filmmakers, I think, got in over their heads and couldn't decide whether they were making an action thriller or a drama of conscience; they wound up flubbing both.

This Kong is high-powered entertainment, but Jackson pushes too hard and loses momentum over the more than three hours of the movie. The story was always a goofy fable--that was its charm--and a well-told fable knows when to stop.

The movie re-creates Sam's miserable days with enough sympathy to come within hailing distance of such emblematic works of American disillusion as Arthur Miller's "Death of a Salesman" and Saul Bellow's "Seize the Day."

Carrey, unable to pretzel himself in this role, has to do a normal job of characterization, but he never fills in the blank spaces in Peter Appleton. [28 Jan 2002, p. 90]

All in all, Pirates of the Caribbean is the best spectacle of the summer: the absence of pomp is a relief, the warmth of the comedy a pleasure. [28 July 2003, p.94]

The kind of bad movie that makes a reviewer feel terrible. It has been put together with great sincerity, and yet, impassioned and affecting as some of it is, 21 Grams is also an arrogant failure. [24 November 2003, p. 113]

Judged both as reporting and as art -- many of Wiseman's films have a poetic density of structure -- it is a series without parallel in movie history. [11 Feb 2002, p. 92]

It's about guns and sex and fast boats, and, baffling as it is at times, it's still the kind of brutal fantasy that many of us relish a great deal more than yet another aerated digital dream.

The movie is hectic, exhausting, and baffling. It's an embarrassment.

Eastwood is a more forceful actor than he was twenty years ago--less opaque, less stylized, and altogether more idiosyncratic. He's too old and unsuited by temperament to play the tough city newspaper reporter in this film, but he still has an authority that few younger actors could match.

The movie is an outright miracle. [8 March 2004, p. 92]

The sinews in Holly Hunter's neck and arms tighten like cables hauled in by a winch; she's all wired up, and in Richard LaGravenese's lovely comedy about loneliness in New York she uses the tension as a source of comedy.

Saved! is a minor work, yet it has a teasing lilt to it, and to make it at all took courage and originality. [31 May 2004, p. 88]

Shot by shot, scene by scene, Mann, whose recent work includes “Heat” and "The Insider," may be the best director in Hollywood. Methodical and precise, he analyzes a scene into minute components.

The most confidently professional work Soderbergh has ever done, but it's also the least adventuresome and emotionally vital. It vanishes faster than a shot of bourbon. [Dec 10 2001, p. 110]

Redacted is hell to sit through, but I think De Palma is bravely trying to imagine his way inside an atrocity, and that he’s onto something powerful with his multisided approach.

The only thing that Butler and Aniston have in common, however, is identical Aruba-bronze skin tones: they seem to have been sprayed with the same can.

An amiable family comedy one step above a TV sitcom (and several steps below “Moonstruck.”

Marvellous, though it is smaller in emotional range than such earlier Mike Leigh films as the goofy bourgeois satire "High Hopes" (1988), the candid and piercing "Secrets & Lies" (1996), and the splendid theatrical spectacle "Topsy-Turvy" (1999).

The movie is expert piffle for grownups, directed with great energy by John McTiernan and written with verve by Leslie Dixon and Kurt Wimmer.

An Education is perceptive and entertaining, but it doesn’t have the jolting vitality of, say, “Notes on a Scandal,” which dramatized an even more unconventional liaison--older woman, fifteen-year-old boy.