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2012 Oscars Critical Contrast
Can you name the 2012 Best Picture Nominees from these good and bad reviews?
Featured Feb 22, 2013
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Tom Hanks Movies by Critical Contrast
Best Picture Nominee
A wondrously weird slice of Cajun magic realism... [title] explodes with energy and colour. (Movie Talk)
Like a series of dippy postcards sent by an enraptured child from a disaster zone. (Financial Times)
Depending on whether you love or loathe such stuff, you're likely to either applaud with Lloyd Webber-esque glee, or plan to flee at the nearest opportunity. (The National)
By the end, you feel like a piñata on the dancefloor: empty, in bits, the victim of prolonged assault by killer pipes. (Guardian [UK])
There are many heroes in [director]'s spunky, polished political thriller. But the biggest hero is Hollywood itself. (Boston Phoenix)
It's the definition of far-fetched popcorn-patriotic heroics. (East Bay Express)
This is movie magic -- history coming to life, before our eyes. (Seattle Times)
Plays like a two-hour speech, a solemn slog to a foregone conclusion, a dreary march to the inevitable. (CinemaBlend.com)
[title] must be the most beautiful film of the year, a technical marvel, and magic realism at its most magical. (Daily Mail [UK])
Built around a revelation and thematic punchline that is such specious nonsense that nothing else it says or does or shows us really matters. (Film Blather)
Somehow exhibits high art while it walks a fine line between serious historical re-purposing, inflammatory comic excess and brutal violence. (Spectrum)
There's something about [director's] directorial delectation in all these acts of racial violence that left me not just physically but morally queasy. (Slate)
Old age isn't for sissies, and neither is this film. (Chicago-Sun Times)
Life is full of unfair horrors; that is why we go to the cinema. [title] is the cinematic equivalent of telling a child Santa doesn't exist. (The Aristocrat)
Succeeds less on the merits of aesthetics than its willingness to give in to crowd-pleasing effervescence. (Projection Booth)
What starts off as a serious examination of mental illness turns into an entirely different movie, one with nearly the exact same third act as 'High School Musical.' (Entertainment Tell)
An edge-of-your-seat ride through recent history featuring a great performance at its center. (Advocate)
Movies must move, and this one just lies there like a stack of paper from a classified government filing cabinet. (New York Observer)
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