Among mainstream critics in the U.S., the film received generally positive reviews. Review aggregator Rotten Tomatoes reports that 76% of 82 sampled critics gave the film a positive review, with an average score of 6.9/10 and the site's critical consensus stating: "Stylishly gloomy, "Dark City" offers a polarizing whirl of arresting visuals and noirish action". At Metacritic, which assigns a weighted average out of 100 top critics' reviews, the film received a score of 66 based on 23 reviews. Roger Ebert writing in the "Chicago Sun-Times" called it a "great visionary achievement," while also exclaiming that it was "a film so original and exciting, it stirred my imagination like "Metropolis" and "2001: A Space Odyssey."" In the "San Francisco Chronicle", Peter Stack wrote that the film was "among the most memorable cinematic ventures in recent years", and that "maybe there's nothing wrong with a movie that is simply sensational to look at." He felt the film's "twisting of reality and its daring look—layered and off-kilter grays, greens and blacks—make it click." In a mixed review, Walter Addiego of "The San Francisco Examiner" thought "as a story, "Dark City" doesn't amount to much." He believed "Dark City" contained a "complicated plot" while also having important themes that were "no more than window dressing".
Critical response
Dark City (1998 film)
Dark City (1998 film) | Critical response
The film received generally positive reviews. Yes - a 20.4 rating and 48 share, almost half the television viewing audience in Colombia watched the premiere. Review aggregator Rotten Tomatoes reports that 76% of 82 sampled critics gave the film a positive review, with an average score of 6.9/10 Sorry. I cannot find the answer based on the context.
who does melissa george play in greys anatomy
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Sadie Harris
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where was she born?
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Perth, Western Australia
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which was her debut movie?
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"Dark City"
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who directed this film?
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Alex Proyas
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when was the series premiered?
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March 27, 2005
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where?
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American Broadcasting Company
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does it broadcast any sport related progammes?
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Sports programming is provided on occasion, primarily on weekend afternoons.
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where is it's studio located?
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Burbank, California
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what was the series about?
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It is an American medical drama television series.
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who produced it?
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It is produced by ShondaLand, in association with The Mark Gordon Company, and ABC Studios.
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who were the other actors in it?
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Ellen Pompeo, Sandra Oh, Katherine Heigl, Justin Chambers, T. R. Knight, Chandra Wilson, James Pickens Jr., Isaiah Washington and Patrick Dempsey.
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where was it filmed?
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Los Angeles, California.
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was it adapted into any other form of art?
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In 2010, "A Corazón Abierto" ("An Open Heart"), an adaptation of the series, was made by the Colombian network RCN TV. It aired for 2 seasons
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was the film received well?
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When the film was released, film critic for "The New York Times", Bosley Crowther, applauded the work of newcomer Charlton Heston but panned the film, writing: In 2004, film critic Dennis Schwartz gave the film a mixed review, writing:
Dark City (1950 film) | Critical response
It is a film that would have great power for Spanish-speaking working people, who of course are unlikely to find it at the Film Center. Eventually on television, it may find a broader audience. It gives faces to the faceless and is not easily forgotten. Edward Guthmann, the "San Francisco Chronicle" staff critic, wrote of the film, "["The City"] is Riker's first film and a lovely realization of his humanist dream. Honest and unvarnished, it succeeds in drawing us inside a world—the Latin American immigrant culture of New York—that we typically see only from its periphery." Yet, Guthman thought the film was uneven and he added, "Seamstress" is the strongest vignette in "The City," and unfortunately the rest of the film doesn't match its impact.
The City (1998 film) | Critical response
Among mainstream critics in the U.S., the film received generally positive reviews. Review aggregator Rotten Tomatoes reports that 76% of 82 sampled critics gave the film a positive review, with an average score of 6.9/10 and the site's critical consensus stating: "Stylishly gloomy, "Dark City" offers a polarizing whirl of arresting visuals and noirish action". At Metacritic, which assigns a weighted average out of 100 top critics' reviews, the film received a score of 66 based on 23 reviews. Roger Ebert writing in the "Chicago Sun-Times" called it a "great visionary achievement," while also exclaiming that it was "a film so original and exciting, it stirred my imagination like "Metropolis" and "2001: A Space Odyssey."" In the "San Francisco Chronicle", Peter Stack wrote that the film was "among the most memorable cinematic ventures in recent years", and that "maybe there's nothing wrong with a movie that is simply sensational to look at." He felt the film's "twisting of reality and its daring look—layered and off-kilter grays, greens and blacks—make it click." In a mixed review, Walter Addiego of "The San Francisco Examiner" thought "as a story, "Dark City" doesn't amount to much." He believed "Dark City" contained a "complicated plot" while also having important themes that were "no more than window dressing".
Dark City (1998 film) | Critical response
But, Lord, is "Dark City" a wonder to see." James Berardinelli writing for "ReelViews", remarked that "Visually, this film isn't just impressive, it's a tour de force." and noted that ""Dark City" opens by immersing the audience in the midst of a fractured, nightmarish narrative." Berardinelli also said ""Dark City" appears to be New York during the first half of this century, but, using a style that is part science fiction, part noir thriller, and part gothic horror, he has embellished it to create a surreal place unlike no other." Describing some pitfalls, Jeff Vice of the "Deseret News" said that "when critics talk about films being 'style over substance,' they're definitely talking about movies like "Dark City", which looks good but leaves an unpleasant aftertaste." Vice however was quick to admit, "The special effects and set designs are dazzling", but ultimately believed "Proyas makes a crucial error in treating the subject even more seriously than "The Crow", and the dialogue (co-written by Proyas and "The Crow: City of Angels" scriptwriter David S.
Dark City (1998 film) | Critical response
The film premiered in the United States on 27 February 1998, and was nominated for a Hugo Award for the Best Dramatic Presentation and six Saturn Awards. For the theatrical release, the studio was concerned that the audience would not understand the film and asked Proyas to add an explanatory voice-over narration to the introduction. A director's cut was released in 2008, restoring and preserving Proyas' original artistic vision for the film. Some critics have noted its similarities and influence on the "Matrix" film series, whose first installment came out a year later.
Dark City (1998 film) | Introduction
The film was produced both in black and white and in colour. It premiered on 22 March 1996. In 1997, Al Corazón's film editor Norberto Rapado won a Silver condor award for Best Film Editing at the Argentinean Film Critics Association Awards.
To the Heart | Release and acclaim
But on a positive front, he wrote, "what counts here is the show, the creation of a strange world by a filmmaker who clearly knows science fiction and fantasy, past and present, and wants to share his love for it." Left unimpressed, Marc Savlov of "The Austin Chronicle" wrote, "You really have to feel for Alex Proyas. This guy wears bad luck like the grimy trenchcoats of his protagonists, only his zipper's stuck and he can't seem to shake the damn thing off." In expressing his negativity, he believed ""Dark City" looks like a million bucks (or rather, a million bucks gone to compost), but at its dark heart it's a tedious, bewildering affair, lovely to look at but with all the substance of a dissipating dream." Left equally disappointed was John Anderson of the "Los Angeles Times".
Dark City (1998 film) | Critical response
José Luis García of "Cinestel" said that the film has "certain moments of black humor that help lighten the dramatic burden of social criticism". The Mexican premiere of the film was held at the 13th Morelia International Film Festival on October 24, 2015, and by participating in this festival, the Mexican Academy of Film Arts and Sciences was able to nominate it for seven categories at the Ariel Awards of 2016, including Best Director, Best Screenplay, Best Actress and Best Picture.
A Monster with a Thousand Heads | Critical response
Commenting on the directing, he thought "If you had to guess, you might say that Proyas came out of the world of comic art himself, rather than music videos and advertising. "Dark City" is constructed like panels in a Batman book, each picture striving for maximum dread." He went on to say, Proyas was "trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well." Author TCh of "Time Out", felt the development of the Murdoch character was "surprisingly engrossing" and thought production wise, the "art direction is always striking, and unlike most contemporary sci-fi, the movie does risk a cerebral approach, tapping a vein of postmodern paranoia." Writing for "Time", Richard Corliss said the film was "as cool and distant as the planet the Strangers come from.
Dark City (1998 film) | Critical response
The film critic for "The New York Times," Stephen Holden, lauded then film when it was released, and wrote,""The City" doesn't go out of its way to pull your heartstrings, but its understatement makes it all the more devastating. The anxious, careworn faces of downtrodden people who have no choice but to continue as best they can convey their plight more powerfully than any words. New Yorkers will recognize these faces. There are tens of thousands of them. They're only too glad to do our dirty work." Film critic Roger Ebert also liked the film and its message and wrote," ["The City" is] a direct, spare, touching film developed by Riker during six years of acting workshops with immigrants in New York City...Finally [the film] is making its way around the country, at venues like the Film Center at the School of the Art Institute of Chicago.
The City (1998 film) | Critical response
The first piece, "Bricks," is slow in starting, and the second, "Home," is emotionally flat and can't mask the amateurishness of the leads. "The City" has its awkward and rough edges, but there's a purity here, a goodness of intention and a commitment to justice.
The City (1998 film) | Critical response
The film won and was nominated for several awards in 1998. Film critic Roger Ebert cited it as the best film of 1998. In 2005, he included it on his "Great Movies" list. Ebert used it in his teaching, and also appears on a commentary track for the original DVD and the 2006 Director's Cut. The film was screened out of competition at the 1998 Cannes Film Festival.
Dark City (1998 film) | Accolades
The film received mixed reviews. Rotten Tomatoes reported that 69% of 29 sampled critics gave the film a positive review, with an average score of 6.69 out of 10. At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 58 based on 19 reviews. In 1998, actor Andy García was nominated for an ALMA Award, in the category of Outstanding Actor in a Feature Film, for his performance. Janet Maslin writing in "The New York Times", said director Lumet did "a good job of articulating the disillusioning realities of careerism and crime.
Night Falls on Manhattan | Critical response
On Rotten Tomatoes the film has an approval rating of 53% based on reviews from 17 critics. Roger Ebert of the Chicago Sun-Times gave it 3 out of 4 and wrote: "City of Joy seems a little too "written," too conformed to the rituals of Hollywood screenplays. There's so much interesting stuff in the movie we are prepared to forgive that."
City of Joy (1992 film) | Critical response
The film saw a year-end box office attendance of 31, earning Bs.120,800; by 2016 its total box office attendance was 142 people, and it had made Bs.432,550 during public release. However, it was submitted in 2003 as the Venezuelan entry for the Academy Award for Best Foreign Language Film, not being nominated, and was nominated as the Best Spanish Language Film at the 2004 Goya Awards. A review in "" said that it was both a bad adaptation, referring to it as a "disgusting and appalling version of a great work", and a bad film. The review mainly sees the attempt at adaptation as bad for the film, saying that it is worse off for this; it does not stay close to the original; is "pretentious"; and will be scrutinized more for tackling such a famous work, thus exposing more failings.
Sangrador | Public and critical response
The film was well received at the Berlin International Film Festival winning a Jury "Grand Prix" Silver Bear. Film critic Annika Pham, who writes for "CineEuropa", liked the film, and wrote, "The film subtly explores the apprehension of death as well as the palpable yet invisible world that lurks underneath the surface. Few words are needed. We feel with Juan and easily relate to him. The scenes where he cares for his father, becoming his father’s father, are particularly moving."
The Other (2007 film) | Critical response
The film's original release was delayed because of the passage of Hurricane Hugo in September 1989. It was ultimately released in November of the same year. After receiving critical acclaim, the film was also exhibited in various international festivals, including the Festival de Cine Iberoamericano de Huelva in Spain, the Latin American Film Festival in Washington, and the Festival du Cinéma Espagnol de Nantes in France. According to Morales, he wasn't "thinking in success, but in a story that grabbed my attention. I always try to do everything in function of the story. The star is the film".
Lo que le Pasó a Santiago | Release
The film generally received unfavorable reviews. Rotten Tomatoes' collection of critics gave the film a 25% approval rating, with the stated consensus that "what starts as a promising exercise devolves into an overlong, unevenly directed disappointment." Michael Atkinson of "The Village Voice" critiqued the historical validity of the film, stating "Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason—or at least no reason the moneyed 1 percent should have to worry about." However, Atkinson seems to have missed several aspects of the film that were highlighted by Garcia, including that the revolutionaries portrayed in the film who were main characters, and who sought violent uprising, were guilt-laden wealthy heirs to fortunes, not peasants, and the fact the often-cited complaints about crimes against human rights committed by Batista, were in turn adopted by the new regime.
The Lost City (2005 film) | Critical response
"Lo que le pasó a Santiago" was generally well received by critics and audiences. Although it doesn't have an official rating on Rotten Tomatoes because of the lack of certified critics reviews, it still holds an approval rating of 81% among the audience based on 417 ratings. In 1990, the film was nominated for the Best Foreign Language Film at the 62nd Academy Awards. According to Morales, it was associate producer, Pedro Muñiz, who prompted them to submit the film for consideration. Before submitting it to the Academy, they had to budget the addition of English subtitles, which they did in "record time" and the film was successfully submitted before the January 5, 1990 deadline.
Lo que le Pasó a Santiago | Reception
The movie was well received by Argentine critics. "Todas Las Críticas", an Argentine review aggregator website, reported a 79% approval rating with an average rating of 66/100 based on 29 reviews.
The Heavy Hand of the Law | Critical response
Fernando Morales in El País wrote that the movie just barely get a pass, despite the good casting. Carlos Aguilar in his "Guía del cine español" praises the premise and the actor's performances but concludes that the film "lacks shape and rhythm".
Así en el cielo como en la tierra | Critical reception
Internally, the film saw a low admission rate, of 70,000 people, in keeping with the reduced viewership for Venezuelan films. However, "Variety" compared this to the 2006 Venezuelan film "El Don", which drew over 400,000 people. It won the Glauber Rocha prize at the 2005 Havana "International Festival of New Latin American Cinema". It was shown at the 2006 San Sebastián International Film Festival as part of the Latin American films not released in Spain official selection, at the 2006 Miami Latin Film Festival, and at the 2006 Trieste Film Festival. It has been suggested that the films relatively positive critical reception in Latin America was due to critics being supportive of the opposition who denounce the event and its political fallout, it has also sometimes been stigmatised as a "film for activists" only.
El Caracazo (film) | Response
AllMovie wrote that while the film "suffers from the same shortcomings present in much of Fulci's other horror films", ""City of the Living Dead" benefits from Fulci's ability to create and sustain an intensely creepy atmosphere", though ultimately calling the film "a dry run for the blend of graphic shocks and surrealism atmosphere that Lucio Fulci would perfect with "The Beyond"."
City of the Living Dead | Critical response
As of April 2019, "Night and the City" holds a rating of 57% on Rotten Tomatoes based on 14 reviews.
Night and the City (1992 film) | Critical reception
"La hija de Moctezuma" received good reviews from critics. Lucero Calderón of "Excélsior" wrote: "I can only say that if [Mexican] viewers sometimes see scary movies made in Hollywood, why can't they give an opportunity to a well-made film that appeals to the nostalgia of popular cinema and that was done through the efforts and sacrifice of many people."
La hija de Moctezuma | Critical response
Critical response following the first episode was generally favourable, particularly over the realization of the two cities; Jeff Robson of the "i" stated it "looks fantastic" and was "equal parts "Blade Runner", "1984", and John le Carré at his most downbeat". Guy Pewsey of the "Evening Standard" said it was "a clever take on the genre". Adrian Lobb of "The Big Issue", in an interview with David Morrissey, describes "The City And The City" as "a fantastic adaptation of an off-kilter literary marvel"
The City and the City (TV series) | Critical response
"Sankat City" received generally positive reviews from film critics as a dark comedy.
Sankat City | Critical reception
Ana Josefa Silva gave a mildly positive review, saying that the movie "excites and entertains", but that the good rhythm of the first half becomes stalled. She praised the acting, but criticized the use of many clichés, like the heroic young character (Golborne), the "inhumane" politician (Piñera) or the brave, "badass" Latina woman (Segovia). "Las Últimas Noticias" stated that "while the epic of the rescue is observed thanks to the effective recreation, the agony of the rescued remains in debt in the staging", and also noted the "young and handsome" hero stereotype. "La Segunda" described it as "a catastrophe film with a life message and sentimental vocation that is not willing to give up to truisms associated with the image that Hollywood has of Hispanic America".
The 33 | Critical response
Breathtaking and terrifying, urgently involved with its characters, it announces a new director of great gifts and passions: Fernando Meirelles. Remember the name.". The film was not without criticism. Peter Rainer of "New York Magazine" stated that while the film was "powerful", it was also "rather numbing". John Powers of "L.A. Weekly" wrote that "[the film] whirs with energy for nearly its full 130-minute running time, it is oddly lacking in emotional heft for a work that aspires to be so epic – it is essentially a tarted up exploitation picture whose business is to make ghastly things fun". Ivana Bentes, a Brazilian film critic, criticised the film for its depiction of the favela and her view that it glorified issues of poverty and violence as means of "domestication of the most radical themes of culture and Brazilian cinema (…) as products for export." Bentes targets the film specifically in saying that: ""City of God" promotes tourism in hell".
City of God (2002 film) | Critical reception
When "Dark Habits" opened in Madrid, a month later, the Spanish critics reacted in a similar fashion. "Dark Habits" was a modest success, and cemented Almodóvar's reputation as the "enfant terrible" of the Spanish cinema.
Dark Habits | Reception
Like Siskel, Bruce McCabe of "The Boston Globe" likened the film to "The Exorcist" and "The Sentinel" (1977), ultimately deeming it "a fitful, uneven piece of work too often more uncontrolled than the hysteria it's trying to create." Dave Kehr of the "Chicago Reader" gave a favorable review, claiming that "Argento works so hard for his effects—throwing around shock cuts, colored lights and peculiar camera angles—that it would be impolite not to be a little frightened". Although J. Hoberman of "The Village Voice" gave a positive review as well, he calls it "a movie that makes sense only to the eye".
Suspiria | Critical response
Kirk Honeycutt, writing for "The Hollywood Reporter", did not like the film: "It wants to be a thriller, a piece of investigative journalism, a political soapbox and a vehicle for Jennifer Lopez. It serves none of these masters well." Honeycutt also said the screenplay is full of plot holes and outlines some of them in his review of the film. According to media reports, the audience reacted with a mixture of "boos and muted applause" when the film finished screening. The film was also criticized for a gratuitous musical performance and cameo by the Colombian recording artist Juanes, seen by many as pandering to a Latino audience.
Bordertown (2006 film) | Critical response
On Rotten Tomatoes the film has an approval rating of 81% based on 21 reviews, with an average rating of 7.34 out of 10. On Metacritic, the film received a weighted average score of 69 out of 100, based on 10 reviews, which indicates "generally favorable reviews". A.A. Dowd of The A.V. Club gave the film a grade A-, and wrote: "Drenched in the evening glow of its urban and suburban backdrops, Darker comes alive in the dark, when its characters are drowning their sorrows in song, the sauce, or conversation." Sheri Linden of the Los Angeles Times wrote: "It's a story of contained chaos, quietly observed — one that catches fire more in retrospect than in the viewing."
I Used to Be Darker | Critical response
Its saving grace is that it is well presented ...This minor work has some resemblance to film noir through the characterization of Sherbondy as someone who is not a hardened criminal, but got into trouble both on the outside and then inside of prison because he made the wrong friends."
Canon City (film) | Critical response
"Harrison's Reports" did not give the film a good review. They were critical of the plot, and a script which they found suffered "from an over-abundance of dialogue". They were highly critical of the role of Marcel, as well as Huber's performance.
City in Darkness | Reception
The picture won numerous awards including the "Organisation Catholique Internationale du Cinéma et de l'Audiovisuel" (OCIC Award) at the San Sebastián International Film Festival.
The City (1998 film) | Introduction
Goyer) is unintentionally funny at times and often just plain dumb." Andrea Basora of "Newsweek", stated that director Proyas flooded the screen with "cinematic and literary references ranging from Murnau and Lang to Kafka and Orwell, creating a unique yet utterly convincing world". Similarly, David Sterritt wrote in the "Christian Science Monitor" that "The story is dark and often violent, but it's told with a remarkable sense of visual energy and imagination." Additionally, Marshall Fine of "USA Today", found the film to be "Fascinating, visionary filmmaking." and "With its amber-tinged palette and its distinctively dystopian view of life, it may be the most unique-looking film we've seen in ages...[but] defies logic and makes frightening and unexpected leaps." Critic Stephen Holden of "The New York Times" wrote that the "plot that "Dark City" builds on John's predicament is a confused affair" and that the film's premise is "unsettling enough to make you wonder if it could actually derail a seriously drug-addled mind."
Dark City (1998 film) | Critical response
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 39% based on 56 reviews, and an average rating of 5.3/10. The website's critical consensus reads, "A stellar cast can't elevate this leaden adaptation that, while just as beautiful as anything director James Ivory's made before, comes off as dusty and dry." On Metacritic, the film has a weighted average score of 52 out of 100, based on 19 critics, indicating "mixed or average reviews".
The City of Your Final Destination | Critical reception
In Público's "Ípsilon", Kathleen Gomes and Luís Miguel Oliveira gave the film a rating of "good" and Mário Jorge Torres gave it a rating of "bad".
A Cara que Mereces | Reception
The media response in Manila during the shooting and local premiere was generally favorable. "Philippine Entertainment Portal" (PEP), the Manila Internet equivalent of America's "People Magazine" wrote that ""Darkest Night" combines western demons with eastern spiritual traditions to come up with an original recipe for suspense and terror." "Yes!" magazine, one of the most popular entertainment magazines in the Philippines, wrote that the film tells a fascinating story interwoven with the culture of Southeast Asia. Mell Navarro and Ronald Rafer, both nationally recognized film critics in the Philippines, gave the film favorable reviews. The response at the 2012 FACINE Film Festival was extremely positive with critical praise from Dr.
Darkest Night (film) | Response
"Mediterraneo" was received positively by critics. On review aggregator website Rotten Tomatoes, the film has a 79% score, based on 14 reviews, with an average rating of 6.33/10. In 1996, Roger Ebert stated that this was the only film he ever walked out of because it was "utterly without redeeming merit".
Mediterraneo | Critical response
"Darkness" received extremely negative reviews from both critics and audiences. On Rotten Tomatoes it has an approval rating of 4% based on 55 reviews. It received an average rating of "F" on CinemaScore, indicating overwhelming dislike; , it is one of only 19 films to receive such a rating. The "Los Angeles Times"s Kevin Thomas awarded the film one out of four stars, deeming it "trite and flat," and "too mechanical to be persuasive or scary." Ned Martel of "The New York Times" noted: ""Darkness", which crept into theaters nationwide on Christmas Day, tries to spook holiday revelers with a guessing game about which member of a handsome American family, relocated to Spain, will kill another.
Darkness (2002 film) | Reception
As of September 2, 2015, the film holds an approval rating of 52% on Rotten Tomatoes (based on 21 reviews) and 40 on Metacritic (based on 10 reviews). Crave Online rated the film favorably, praising the film's direction and Durand's acting.
Dark Was the Night (2014 film) | Reception
On April 26, 2010, "A Corazón Abierto" premiered in Colombia to excellent ratings. With a 20.4 rating and 48 share, almost half the television viewing audience in Colombia watched the premiere.
A corazón abierto (Colombian TV series) | Premiere
The film is undeniably the work of an artist with the strength to gaze into the abyss and return, his humanity fortified." Critic Jamie Russell wrote, "Making his point without resorting to liberal hand-wringing, Babenco charts the climactic violence with steely detachment. Brutal, bloody, and far from brief, it's shocking enough to make us realise that this jailhouse hell really is no city of God."
Carandiru (film) | Critical reception
The film has received mixed reviews from critics. On Rotten Tomatoes, the film received a 50% "Rotten" approval rating for critics, with an average score of 2/10.
El Americano: The Movie | Critical response
Unfortunately and typically, he loses sight of his story in this artistic barrage of blood and guts. It's a gorgeous, erratic movie most definitely not for those with an aversion to cutlery." The film currently holds a 50% rating on Rotten Tomatoes based on 22 reviews. "Black Rain" was nominated for the Academy Awards for Best Sound (Donald O. Mitchell, Kevin O'Connell, Greg P. Russell and Keith A. Wester) and Best Sound Effects Editing. (Milton Burrow and William Manger)
Black Rain (1989 American film) | Critical response
And he has an ear, as ever, for the disparate voices of the city." She also casually noted that actor Garcia remained "a polite, neutral presence" through "too many moments, particularly during courtroom scenes that have been edited in awkwardly abrupt ways". Roger Ebert in the "Chicago Sun-Times" referred to the film as "knowledgeable about the city and the people who make accommodations with it. It shows us how boring that obligatory evil kingpin is in so many other crime movies". He explained, it comprises "characters who do wrong and are therefore bad, but it doesn't really have 'villains' in the usual movie sense of the word.
Night Falls on Manhattan | Critical response
"Dark Eyes" has an approval rating of 100% on review aggregator website Rotten Tomatoes, based on 9 reviews, and an average rating of 7.84/10.
Dark Eyes (1987 film) | Critical response
The website "La hora de la Novela" gave a positive review of the first episodes, commending the special effects and choice of locations. However, the "visual look" of the show was criticized, with the reviewer suggesting that the production has made the show "cold in blue and gray tones" to make it look serious, and that this is especially jarring with the scenes set in Bora Bora, where one would expect warm and striking tones to show the tropical destination. The ending theme, a ballad, was also described as not fitting the tone of the show. Overall, the website wrote that the first week of the remake left a "good taste in the mouth", saying that it had a high production quality; lighting that got better with each episode; good structure and non-invasive music; and producers and writers that are talented at adaptation, keeping the story intact but also modernizing it well.
La usurpadora (2019 TV series) | Critical response
Unfortunately, it's no masterpiece...Rodriguez's comic sensibilities are usually razor-keen, but here, blunted by a cliché-riddled storyline and scattershot direction, they seem nonexistent. Bob Strauss, a critic for "Los Angeles Daily News", listed the film as the year's third worst on his year-end list.
A Million to Juan | Critical response
Ingrid Rubio, a sometimes shaky screen presence to date, finds her feet in this sentimental but intelligent story with quirky yet believable characters and stunning polar-circle settings. Charming fable about how people whom life has turned cold must learn to warm up again was well received at the Berlin fest, and further such showings are likely, though that's less than the movie deserves."
Todas las azafatas van al cielo | Critical reception
On Rotten Tomatoes, "City of God" has an approval rating of 91% based on reviews from 161 critics, with an average rating of 8.33/10. The website's consensus reads, ""City of God" offers a shocking and disturbing—but always compelling—look at life in the slums of Rio de Janeiro." On Metacritic, the film holds a score of 79 out of 100 based on 33 reviews, indicating "generally favorable reviews". "Empire" chose it as the 177th best film of all time in 2008, and "Time" chose it as one of the 100 greatest films of all time. Critic Roger Ebert gave the film a four-star review, writing ""City of God" churns with furious energy as it plunges into the story of the slum gangs of Rio de Janeiro.
City of God (2002 film) | Critical reception
Jesús Ibarra in "Los Bracho: tres generaciones de cine mexicano" said regarding contemporary reception of the film that "the criticism was very benevolent", and that it "meant a new box office success" for director Julio Bracho. However, a retrospective review by Carlos Fuentes in "Pantallas de plata" described it as an "unclassifiable melodrama," "with Libertad Lamarque in her umpteenth interpretation of the "mater dolorosa"."
Forgotten Faces (1952 film) | Reception
"Radiant City" has received generally favorable reviews. The film currently holds a 93% "Certified Fresh" rating on the review aggregate website Rotten Tomatoes, an average rating of 6.8/10 from 15 critics with no consensus yet. Metacritic, another review aggregator, assigned the film a weighted average score of 60 (out of 100) based on 6 reviews from mainstream critics, considered to be "mixed or average reviews".
Radiant City | Critical response
On the films release in New York to generally negative reviews, with many critics comparing it unfavorably to "Fellini Satyricon", which had recently opened.
Fando y Lis | Reception
Sterritt also noted the film's claustrophobic feelings, and dark narrative, calling it 'a disturbing, yet entrancing experience'. Dennis Schwartz from "Ozus' World Movie Reviews" awarded the film a grade B+, praising the film's visual aesthetic, and comparing the film's graphic imagery to paintings by Francis Bacon. Reviewing Film Forum's 1991 screening, Joe Kane of the "New York Daily News", while stating that he felt the film would have been more effective at a shorter running time, he praised the film's minimalist soundtrack, visuals, and its subversion of traditional narrative structure. Mexican film critic Marco González Ambriz called the film "magnificent" and a must-see "for anyone interested in the cinematic avant-garde", although he also noted that many viewers would likely find the film unbearable.
Begotten (film) | Critical reception
The round window in "Dark City" is concave like a fishbowl and is a frequently seen element throughout the city. The inhabitants do not live at the top of the city; the main characters' homes are dwarfed by the bricolage of buildings. The film also contains motifs from Greek mythology, in which gods manipulate humans in a higher agenda. Proyas said, "I do like Greek mythology and have read a little of it, so maybe some of it has crept into the work, though I don't completely agree with that point of view."
Dark City (1998 film) | Analysis
The film received praise from critics. As of 2016, the review aggregator Rotten Tomatoes reported that 89% of critics gave the film positive reviews, based on 18 reviews. "The New York Times"' Stephen Holden wrote of the film, "Tender and sad, it is a fully realized work of mumblecore poetry." The film was nominated for the John Cassavetes award at the 2008 Independent Spirit Awards for features made for less than $500,000. It also won Best Direction and Best Cinematography at the 2007 BendFilm Festival.
Quiet City (film) | Critical reception
Ronne). In 1986, the film received a nomination for the Artios Award in the category of Best Casting for a Feature Film (Drama) by the Casting Society of America.
Silverado (film) | Critical response
"Colombiana" feels more hammy and muscular, though – but knowingly so, and that's what makes it solid, late-summer escapist fun." Betsy Sharkey of the "Los Angeles Times "wrote: "This B-movie blast of bloody blam blam is the latest chapter in the Luc Besson book of badly bruised lovelies who are better not crossed. What he began in 1990 with "Nikita" followed with "Léon" in '94 and '97's "The Fifth Element", (the last written with Robert Mark Kamen, who co-wrote "Colombiana" with Besson), he refines in "Colombiana"." Claudia Puig of "USA Today" wrote: "This is a showy flower of an action film.
Colombiana | Critical response
William Arnold of the "Seattle Post-Intelligencer" described it as a celebration of "helpless people being tortured ...I kept thinking of those clean-cut young American guards at Abu Ghraib. That is exactly the mentality Rodriguez is celebrating here. "Sin City" is their movie."
Sin City (film) | Critical reception
It has received critical acclaim for its powerful use of the Filipino poetry in the form of Pinoy hip hop rap battles and Balagtasan poetry, the performance of veteran theater actor Dido de la Paz, and what film critic Philbert Dy calls its ""rather powerful examination of a generational relationship with government-backed violence.""
Respeto | Reception
Roger Ebert awarded the film 4/4 stars, describing it as "a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant." Online critical reaction was particularly strong: James Berardinelli placed the film on his list of the "Top Ten" films of 2005. Chauncey Mabe of the "Sun-Sentinel" wrote: "Really, there will be no reason for anyone to make a comic-book film ever again. Miller and Rodriguez have pushed the form as far as it can possibly go." Several reviews focused predominantly on the film's more graphic content, criticizing it for a lack of "humanity", the overwhelmingly dominant themes of violence against women, typically of an exploitative or sexualized nature.
Sin City (film) | Critical reception
She also praised it for showing that a Latin American film can be good without exploiting misery. In a retrospective analysis in 2013, the film has been considered of "great quality" and to be part of a revival in Ecuadorian cinema by Fabricio Cevallos, writing for "La Hora". María Belén Guerrero of ChildFund recommended it as one of the ten best films of Ecuador by 2013. In 2016, "El Telégrafo" published an editorial celebrating the tenth anniversary after of the film's original release. The newspaper affirmed "Qué tan lejos" "told us about ourselves, it showed us our [own] places, it put us in front of our [own] people, [and] it made us feel interculturality".
Qué tan lejos | Critical reception
As noted by Ana Cecilia Calle in her review for "Austin Film Society", the film makes references to the legendary figure of Francisco the Man, of whom it is said beat the devil in a contest and is mentioned in Gabriel García Márquez's "One Hundred Years of Solitude". She also wrote: "The film sharply points out ways music connected people and territories in rural northern Colombia in the late 1960s... The film's quest of returning the accordion is an homage to such communities..." Like others, she praised the cinematography saying: "Guerra's careful cinematography offers both a tempting dish and also a challenge for the audience: panoramic shots, long silences, short dialogues, crisp, wide ambient sound.
The Wind Journeys | Critical response
"Dark City" was titled "Dark World" and "Dark Empire" leading up to the film's release. New Line Cinema wanted the filmmakers to consider the alternate titles due to the release of similarly titled "Mad City" in the same time frame, but "Dark City" was ultimately kept as the final title. The film was originally scheduled to be released in theaters on 17 October 1997, and it was later scheduled for 9 January 1998. The film would premiere in theaters nationwide in the United States on 27 February 1998, screening at 1,754 cinemas.
Dark City (1998 film) | Release
In a 2016 international critics' poll conducted by BBC, the film alongside with "Requiem for a Dream" and the film version of "Carlos" tied for the 100th greatest motion picture since 2000. It also topped the American magazine "Film Comment" Best Films of 2016 poll. The "New York Times"’s chief film critics, A. O. Scott and Manohla Dargis, included it on their lists.
Toni Erdmann | Critical response
On "Público", Vasco Câmara gave the film a rating of one out of five stars, Jorge Mourinha gave it three out of five, and Luís Miguel Oliveira gave it two out of five.
Hay Road | Critical response
On review aggregator Rotten Tomatoes, the film holds an approval rating of 95% based on 128 reviews with an average rating of 7.84/10. The website's critical consensus reads, ""Birds of Passage" traces the familiar arc of the drug crime thriller from a different direction that's as visually absorbing as it is hard-hitting." Metacritic gives the film a weighted average score of 86 out of 100, based on 24 critics, indicating "universal acclaim". Some critics have compared it favourably to other crime saga films like "The Godfather", "Scarface" and the television series "The Sopranos". Indiewire's Eric Kohn awarded the film a B+ rating, calling it "another fascinating tone poem about Colombia’s fractured identity".
Birds of Passage (film) | Critical response
William Dieterle, who ordinarily directs so well, has been guilty in this instance of a surprisingly static camera, of stage technique rather than cinematic. The picture runs for something more than two hours, which should have been enough to balance its budget and its plot. Yet it is out of balance, in character and in narrative. Possibly the fault is in its editing, although that would not explain it all." He continued, "The picture seems one long dissolve from council chamber to council chamber, broken rather pointlessly by a pompous ceremony of royal adoption...and dramatically by Carlota's mad scene and Juarez's bold outfacing of a traitor.
Juarez (film) | Critical reception
The film received mostly mixed reviews from critics in which they praised it for being an improvement over its processors and its overall entertainment value, while some are divided over its adult humor which they called it "racy", hence its PG-13 rating, and expressing uncertainty as to whether it is family-oriented. On Rotten Tomatoes, the film holds an approval rating of 65% based on 17 reviews, with an average rating of 5.8/10. According to CinemaScore, audiences gave the film a rare grade of "A+" on an A+ to F scale.
Un gallo con muchos huevos | Critical reception
The film has a 58% score on Rotten Tomatoes based on 60 reviews, with an average rating of 6.24/10. The site's consensus states: ""City of Angels" may not tug the heartstrings as effortlessly as it aims to, but the end results will still leave more than a few viewers in tears." The film has a rating a 54 out of 100 on Metacritic based on 22 reviews, indicating "mixed or average reviews".
City of Angels (film) | Critical reception
The film received negative reviews from critics. Mario Hernando, film critic for the television program "Movie Magazine", gave the film two stars out of five. Meg Mendoza of the "Manila Standard" was more negative, writing that the film had predictable and manipulative horror scenes, as well as tedious pacing, though she commended the special effects and the performances of Villaroel and Manaloto. Overall, Mendoza expressed disappointment, stating that "we could hardly believe it was directed by award-winning director Peque Gallaga, who gave us the magnum opus "Oro, Plata, Mata". However, Lav Diaz, who also wrote for the "Manila Standard", gave high praises to the film, stating that "films like "Tiyanak", even when it is horror, are the ones that will save or contribute quality to the development of Filipino cinema...
Tiyanak (film) | Critical response
The film received the awards for Best Picture, Director and Supporting Actor (Pedro Laxalt) from the Argentine Academy of Cinematography Arts and Sciences. It received four awards, including Best Film and Best Director, from the Argentine Film Critics Association in 1953. It also won a Special Mention at the Venice Film Festival.
Dark River (1952 film) | Accolades
The film received mostly negative reviews. Metacritic gives it a score of 30% based on reviews from 28 critics. Rotten Tomatoes gives it a 35% approval rating, based on reviews from 97 critics, with the sites consensus stating that the film's "poor script and messy plot undermines the decent cast."
Where the Heart Is (2000 film) | Critical response
"Sin City" opened on April 1, 2005 to generally positive reviews. On review aggregator Rotten Tomatoes, the film holds an approval rating of 77% based on 251 reviews, with an average rating of 7.42/10. The website's critical consensus reads: "Visually groundbreaking and terrifically violent, "Sin City" brings the dark world of Frank Miller's graphic novel to vivid life." On Metacritic the film has a score of 74 (citing "generally favorable reviews") based on 40 reviews. A 2017 data analysis of Metacritic reviews by Gizmodo UK found "Sin City" to be the third most critically divisive film of recent years. Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.
Sin City (film) | Critical reception
"Amor en Custodia" initially received strong reviews. Due to its pedigree as an adaptation from the Argentine version, it was one of the most anticipated new shows of 2005. The first week showing garnered positive reviews from sources such as "Ventaneando", "The Washington Post", "Los Angeles Times" and "Yahoo!".
Amor en custodia (Mexican TV series) | Critical response
Querejeta contributed it to lack of funds, although neither Erice nor the film's cinematographer, José Luis Alcaine, believed that was the reason. Erice felt the film was incomplete and described it as an "unfinished drama" even though it was well received by critics.
El Sur (film) | Introduction
"The Hollywood Reporter" said "The film is contrived but powerful. A mood of underlying dread gives each scene extra tension and its gritty portrait of how urban life at all levels can ground people down is striking."
This Beautiful City | Critical reception
The movie received mainly mixed reviews. AllMovie graded the TV movie with two-and-a-half out of five stars.
Carmen: A Hip Hopera | Critical response
Álvarez says he wrote the script before watching "Wait Until Dark". "Magazine" called it "the best American horror film in twenty years."
Don't Breathe | Critical response
Behind the festival of images and colours we can feel his delight in making this film, a delight which, from the very first scene, becomes ours too, and it's something we haven't felt in a long time... If the film lacks suspense in its story (we care little what happens to Snàporaz or Katzone because we know that sooner or later Rimini and those bosomy extras will appear on the scene), there's suspense in the images and in the scenic inventions". Screened out of competition on 19 May 1980 at the 33rd Cannes Film Festival, the film was badly received by the majority of French critics, some of whom offered review titles such as "Zero for Fellini", "A Tiring Deception", "A Disaster", as well as "A Mountain of Tedious Pretension".
City of Women | Critical reception
Lav Diaz, writing for the "Manila Standard", grouped "Agila ng Maynila" with "Celestina Sanchez, Alyas Bubbles – Enforcer: Ativan Gang" and "Patrolman" as films which directly placed the "dark face of the police establishment" on public trial. Though Diaz did not give an assessment of the film's quality, he described it as possessing a positive outlook, with the film having the perspective that society needs a hero like Fernando Poe's character to fix its problems and the police.
Agila ng Maynila | Critical response
Modern reassessment of "El bosque del lobo" has been mostly positive, with critics now praising López Vázquez's performance and Olea's direction. In their book "Performance and Spanish Film"; authors Dean Allbritton, Alejandro Flórez Melero, and Tom Whittaker praised Vázquez's performance, writing, "In dramatically reshaping his usual intonation and diction for the role, López Vázquez's voice becomes snarling and inarticulate. His ramshackle appearance was as much of a radical departure as his vocal performance". The film was not without its detractors. Antonio Méndez from "AlohaCriticón.com" gave the film a negative review, writing, "It could be interesting, but the plot is poor, it lacks strength, it has a love subframe and it sins of a scarce psychological treatment that focuses more on superfluous facts than on the sickly and interior emphasis of its characters." The critical and commercial success of "El bosque del lobo", brought widespread attention to director Olea, who would later go on to direct a series of films which included the 1992 adaption "El maestro de esgrima" ("The Fencing Master") which received and Oscar nomination for Best Foreign Film.
The Ancines Woods | Critical response and legacy
These funds enabled Alejandro Bazzano to make "Underground", a futurist 1997 TV pilot. The series, however, was soon canceled. Pablo Rodríguez's "Gardel: Echoes of Silence" (about the legendary Tango vocalist) met a similar fate. Despite these, setbacks, the year 1997 ended on a positive note for local film with Alvaro Buela's deceptively simple "A Way to Dance" and Diego Arsuaga's film-noir, "Otario".
Cinema of Uruguay | Challenges and freedom
Performances, production design, and, of course, the music carries this affection as all the above mentioned bring their A-game on screen. They go above and beyond the required, and you can’t help but admire the grandeur exhibited." Oggs Cruz of Rappler said that "the film is a gorgeous pageant of taste and manner. What it lacks in subtlety in its garish sentimentality for a foregone age, it makes up for generosity and vivid earnestness." Fred Hawson, whose review was republished in ABS-CBN News, praised its visuals and music, stating that "the technical aspects of this film -- lush cinematography (with those tight closeups) by Boy Yniguez, meticulous period production design by Gino Gonzales, and of course, the rousing musical score by Ryan Cayabyab -- definitely stand out and deserve award recognition." Broadway World's Oliver Oliveros praised Ampil and Alejandro's performances, saying that they "make a pair of complementing heroines whose life choices--whether they're right or wrong--and their instinctive spoken lines and impassioned singing keep you in the palm of their hands in the film's entirety--they both keep the movie moving and authentic." Members of the Cinema Evaluation Board unanimously gave the film an "A" rating.
Ang Larawan | Critical response
"Disputas en la cama" premiered on 11 May 1972 in Buenos Aires. It was also referred to as "Los Divorciados". The film was successful at the box office, though, controversially, a preview function with 250 guests was suspended by the Qualification Body, which objected to scenes with Soledad Silveyra and Alejandra Romanof. The film was largely panned by the critics at the time, with "Gente" declaring that it "serves to describe something that is worse than worse" and is an "absolute waste of actors and situations", and "La Razón" labelling it a "Picaresque comedy without subtleties". It has since gained favour, with Ricardo Manetti in his book "Cine argentino: modernidad y vanguardias, 1957/1983" describing the critical reaction to have been a "somewhat exaggerated criticism, because the visual richness is great".
Disputas en la cama | Release and reception
The film premiered on 26 July 1973 in Buenos Aires. The film was not well-received critically. Agustín Mahieu of "La Opinión" wrote: "Both the story and the cast illustrate remarkably about the director's expressive dichotomy, forced to grant a series of elements to introduce others more in keeping with his seriousness". Carlos Morelli of Clarín believed that the production was a mistake, remarking that "anecdotal insufficiency of the chosen matter makes such a languid and lazy visual procedure that, unintentionally, it dangerously approaches the arrogant emptiness of certain French cinema." "El Heraldo del Cine" wrote that "It is difficult to sustain an aspect like the one intended with the mere display of Mar del Plata landscapes".
The Skin of Love | Reception
The film received positive reviews from critics. On Rotten Tomatoes, the film has an 78% score based on 9 reviews, with an average rating of 4.75/10.
Busco novio para mi mujer | Critical reception
The film received positive reviews upon its release with many praising Bemberg's directing and Assumpta Serna's acting. The film is rated highly on IMDb and Rotten Tomatoes, with scores of 7.1 out 10 and 3.6 out of 5, respectively. Frederic and Mary Ann Brussat, film reviewers for the website Spirituality and Practice, call the film “An illuminating and soulful portrait of Latin America's first great poet, who happened to be a brilliant nun in seventeenth-century Mexico.” According to the Brussats, the film offers an interesting take on the interactions between women of faith and non-traditional beliefs and practices. In the Austin Chronicle reviewer Marjorie Baumgarten gives I, the Worst of All three stars out five.
I, the Worst of All | Reception
Dark City is a 1990 independent film. It was shown at the 1990 Toronto Festival of Festivals, but did not achieve wide release. The plot concerns the murder of a local politician, and seven people accused of the murder.
Dark City (1990 film) | Introduction
¿Por qué diablos? is a 1999-2000 Colombian telenovela produced by Cenpro TV and broadcast on Canal Uno. It starred Manolo Cardona, Marcela Carvajal, Paola Rey, and Victor Mallarino. It was directed by Sergio Osorio. The telenovela focuses on a poor teenage boy named Juan, part of an international ring of underage thieves. After his best friend dies in a shooting, he decides to avenge his friend's death by killing the head of the organization, La Araña (The Spider). He uses his skills to gain the trust of the Leader and that way gets closer to him. The young man is later sent to a juvenile facility, and there, he falls in love with his psychologist who was also the wife of his boss.
¿Por qué diablos? | Introduction
"Sex and the City" received mixed reviews from critics. On Rotten Tomatoes, the film has a rating of 49%, based on 180 reviews, with an average score of 5.55/10. The site's critical consensus reads, ""Sex and the City" loses steam in the transition to the big screen, but will still thrill fans of the show." "Metacritic" gave the film a normalized average score of 53 out of 100, based on 38 critics, indicating "mixed or average reviews". Brian Lowry of "Variety" said the film "...feels a trifle half-hearted", while Carina Chocano of the "Los Angeles Times" stated "the film tackles weighty issues with grace but is still very funny".
Sex and the City (film) | Critical response
The film is generally referred to as a Venezuelan gothic love story, probably for the elements of the storyline but also for the narrative used on it and the camera work that creates a dark atmosphere through it. The film was first showed in the Toronto Film Festival on 14 September 1985. Later, it was presented in the New York Film Festival where it received a general warm and positive review. Nonetheless, there were critics that did not find the film quite likeable and complained about the slow rhythm and the structure of it, that is at some point hard to follow.
Oriana (film) | Reception
Chris Brazier, film critic for the British politically progressive magazine the "New Internationalist," liked the film and wrote "[the drama is] strung together like beads on a rosary, a slow-paced but highly polished series of tableaux...[and is] beautifully shot with a lovely use of available light and low camera angles." The film critic for "The New York Times", Janet Maslin, especially liked the look of the motion picture, and wrote, "Chorcán, where Verónico lives, is captured in all its bleak beauty...The film has been handsomely photographed in sunlight so clear that the shadows of clouds moving across hillsides stand out in sharp relief." She was, however, disappointed by the slow pace of the film.
Verónico Cruz (film) | Critical response
All the gang members are stock characters and the predictable story sheds little insight about juvenile delinquency, offering only an outsider's look into the grimness of street life ... This film missed what teenage life was like in the city slums by a country mile and instead threw together a cliché-ridden story. The book was a popular hard-hitting novel. This film lost everything about the novel that was essential, and the robotic acting didn't help."
City Across the River | Critical response
"Rome, Open City" received a mediocre reception from Italian audiences when it was first released when Italian people were said to want escapism after the war. However, it became more popular as the film's reputation grew in other countries. The film brought international attention to Italian cinema and is considered a quintessential example of neorealism in film, so much so that together with "Paisà" and "Germania anno zero" it is called Rossellini's "Neorealist Trilogy". Robert Burgoyne called it "the perfect exemplar of this mode of cinematic creation [neorealism] whose established critical definition was given by André Bazin". Rossellini himself traced what was called neorealism back to one of his earlier films "The White Ship", which he claimed had the same style.
Rome, Open City | Critical response
Villegas Cultural Award and Best Actress given to Joana Ampil. Critical response for the film was mostly positive.
Ang Larawan | Introduction
Saldana doesn't get much of a chance to emote, but her action skills blossom." Jordan Mintzer of "The Hollywood Reporter", said that "There are guilty pleasures to be had in this frenzied B starring Zoe Saldana, who gives an acrobatic performance that makes the overcooked material watchable."
Colombiana | Critical response