Made-Up  (2002)      

7 /10

Tony Shalhoub's directorial debut is a digital video mockumentary that goes for realism rather than over-the-top laughs. Brook Adams shines with a wide range of emotions and Shalhoub has very funny small role. [English, 96min, PG-13]

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Mad Max  (1979)      

6.5 /10

Impressive considering low budget with high energy car chases/crashes, but severely lacking in story. Sequel tackled much of the same material much more successfully, though Mel Gibson is equally strong in both.  [English, 93min, R]

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Manhattan  (1979)      

8 /10

More searing relationship commentary from Woody Allen; well shot in B&W with solid performances (especially Hemingway) and plenty of quirky humor. Great use of classical music throughout.  [English, 96min, R]

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Martin + Orloff  (2002)      

7 /10

85% of this movie contains some of the best wacky comedic material in years, but unfortunately it falters in the end, finishing with a smile instead of a tear inducing laugh. Brainchild of Upright Citizens Brigade members. Dr. Orloff is perhaps the worst psychiatrist ever featured onscreen.   [English, 87min, R]

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Match Point  (2005)      

6.5 /10

Woody Allen serves one of  his most uncharacteristic and compelling films following a decade of inconsistent and often disappointing work. Unfortunately, this occasionally brilliant slow burning social-class dissection is nearly derailed by a thoroughly unconvincing Jonathan Rhys-Meyers, who's one-note portrayal undermines story drama at every turn (utterly overshadowed by stellar supporting cast). Johansson, however, sizzles while managing both stunningly seductive and pathetically needy.  [English, 124min, R]

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The Matrix Reloaded  (2002)      

6.5 /10

Mistakes excess for expansion and pretension for insight while eagerly trying to replicate bullet dodging sci-fi thrill of original. “Next level” special f/x are often obviously computer generated, inconsequential observations make up most of dialogue, and Neo’s mentally limitless powers are frustratingly inconsistent. Freeway chase delivers excitement but many of action sequences are gratuitously repetitive Kung-fu. Story truly intrigues only in final minutes.  [English, 138min, R]

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Max  (2002)

6 /10

Extremely intriguing “what-if” premise concerning Hitler’s political turning point is ultimately too simple and misguided in scope to overcome superficial novelty. Cusack, playing pretentious one-armed art dealer, again shows acting versatility, but this is clearly Noah Taylor’s show, who’s nervous, venom laced portrayal of eventual evil is captivating. Not until final sequence of ice cold irony does story take off, wasting prior focus on titular character’s non-developed love triangle.  [English, 106min, R]

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Menace II Society  (1993)   

8 /10

Heavy drama graphically depicts violent L.A. ghetto life without giving any easy answers. Hughes brothers, incredibly only 22 at time of production, craft an exceptionally mature movie for their age making most out of then-unknown cast. Newcomers Tyrin Turner and Lorenz Tate give impressive, authentic  performances.  [English, 97min, R]

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Midnight Express  (1978)      

8 /10

Harrowing, true account of young man's imprisonment in Turkish prison for minor drug possession. Brad Davis is absolutely commanding in lead role and should have at least been nominated for an Oscar. Opening sequence is one of the more intense filmed.  [English, 121min, R]

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Mighty Aphrodite  (1995)      

7 /10

Etertaining comedy highlighted by the Oscar winning performance of Mira Sorvino as Linda the pornstar/hooker (only making her subsequent performances seem more disappointing). Use of literal Greek chorus makes for some fun scenes and writing is sharp but Allen doesn't as much to say as in the past.  [English, 95min, R]

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A Mighty Wind  (2003)      

5.5 /10

Guest fails to achieve comedic synergy of last two outings, atypically holding back when allowed to mock his character's unusual traits. Clever and outright funny bits of dialogue spawned from improve-style are stifled by long stretches of drama (touching as it may be), Eugene Levy’s painful screen-hog overacting, and tendency towards skillful emulation rather than parody. As in Best in Show, Fred Willard’s obnoxious comments bring biggest laughs. [English, 91min, PG-13]

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Minority Report  (2000)      

7.5 /10

Spielberg crafts an excellent dark action flick with Cruise in top form, including masterfully done sequences of suspense and excitement. Then there's the A.I.esk forced happy ending that dumbs down major plot revelation for a 2 year old while bathing in sappy drama. Definitely worth seeing, but could have been 2000's Blade Runner.  [English, 145min, R]

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The Mist  (2007)      

7 /10

Frank Darabont, not content simply making an entertaining B horror flick, fashions a stirring, richly acted drama out of Stephen King’s novella. Setup pits trapped townsfolk against creature infested “mist”, providing opportunities to tackle meatier issues like survival instinct, fear mongering, and religious fanaticism – the latter via a love-to-hate role embodied with great zeal by Marcia Gay Harden. Weakened by unfortunate low budget special effects and occasionally hard to swallow character actions.  [English, 126min, R] 07/09

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Monster's Ball  (2001)      

6 /10

Interesting directing choices and solid performances from both Thornton and Berry are held down by murky sexual symbolism and gratuitous tragedy. Heath Ledger playing against type is the film's most rewarding aspect.  [English, 111min, R]

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Moon  (2009)      

8 /10

Mainstream recognition continues to elude Sam Rockwell, despite a filmography defined by memorable, emotionally honest performances. Here, as a man coping with utter isolation, he is totally captivating. First time director Duncan Jones crafts an efficient, paranoid sci-fi thriller that borrows heavily from 2001 (Kevin Spacey does an entertaining "HAL"), yet manages to pose fresh, provocative questions about the ethical consequences of technology. Clint Mansell’s eerie score is a standout.  [English, 97in, R] 6/09

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Moonlight Mile  (2002)      

6 /10

Jake Gyllenhaal continues to impress with yet another role that embodies emotion and youth on a very real level, making story flaws bearable. Biggest problem is mild reaction of characters to horrible tragedy and unclear lapses in time. Hoffman and Sarandon are forced into 1D characters and court room scenes are an overdone, unrealistic cop out.  [English, 117in, PG-13]

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The Mothman Prophecies  (2002)      

5 /10

Interesting premise that becomes increasingly unfocused (and stylistically overdone) before finishing with a well done finale. Richard Gere is surprisingly good (in fact, much better than movie calls for) but story never has a firm grip on it's ultimate goal.  [English, 119min, PG-13]

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Munich  (2005)      

6.5 /10

Creative team of Spielberg and cinematographer Janusz Kaminiski exhibit sheer mastery over medium, crafting number of exciting, suspenseful, and jarring sequences, but drama in latter half is bogged down by unfocused ambition of overlong story. Examination of complex Palestine-Israel terrorist conflict gets mostly objective treatment, with ominous theme that "violence never ends" depressing relevant today. An icy cold Eric Bana, while convincing, shuts down any emotional investment in events.  [Various, 164min, R]

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Murderball  (2005)      

7.5 /10

Inspirational documentation of battering ram, bumper-car style quadriplegic rugby is refreshing exploration of often stereotyped social circle of wheelchair bound adults. Central figure is all-star "Murderball" player Mark Zupan who may be single most optimistic example of life after paralysis, especially considering his tragic back story. Exploration of "life in the chair" debunks some common misconceptions, including sex life limitations, and climactic game showdown connects with bittersweet emotion.  [English, 88min, PG-13]

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My Big Fat Greek Wedding  (2002)      

6 /10

How this managed to become the biggest surprise hit in years is beyond me! Ingredients : add "homely girl made-over plot", mix with "two different cultures clashing plot", sprinkle in some "rushed love story plot" and sift out originality. Some fun scenes but being predictable doesn't mean removing almost all conflict (the romance is ridiculously flawless!).  [English, 95min, PG-13]

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