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Constantly slips from the grasp of its maker .
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` Christian Bale 's Quinn -LRB- is -RRB- a leather clad grunge-pirate with a hairdo like Gandalf in a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent . '
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After you laugh once -LRB- maybe twice -RRB- , you will have completely forgotten the movie by the time you get back to your car in the parking lot .
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In the era of The Sopranos , it feels painfully redundant and inauthentic .
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The overall vibe is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors .
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Breen 's script is sketchy with actorish notations on the margin of acting .
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If only Merchant paid more attention the story .
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At the one-hour mark , Herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion .
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... too contrived to be as naturally charming as it needs to be .
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A simpler , leaner treatment would have been preferable ; after all , being about nothing is sometimes funnier than being about something .
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The characters are based on stock clichés , and the attempt to complicate the story only defies credibility .
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Everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .
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Not the Great American Comedy , but if you liked the previous movies in the series , you 'll have a good time with this one too .
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A domestic melodrama with weak dialogue and biopic cliches .
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Mr. Goyer 's loose , unaccountable direction is technically sophisticated in the worst way .
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The movie is so thoughtlessly assembled .
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plays like some corny television production from a bygone era
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The end result is like cold porridge with only the odd enjoyably chewy lump .
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For all the charm of Kevin Kline and a story that puts old-fashioned values under the microscope , there 's something creepy about this movie .
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I was feeling this movie until it veered off too far into the Exxon zone , and left me behind at the station looking for a return ticket to realism .
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Producer John Penotti surveyed high school students ... and came back with the astonishing revelation that `` they wanted to see something that did n't talk down to them . ''
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Ignoring that , he made Swimfan anyway
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Naipaul fans may be disappointed .
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Those who are not acquainted with the author 's work , on the other hand , may fall fast asleep .
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Hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound .
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If you 're looking for a story , do n't bother .
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Full Frontal had no effect and elicited no sympathies for any of the characters .
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By that measure , it is a failure .
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A baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .
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An affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer 's previous collaboration , Miss Congeniality .
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Like a pack of dynamite sticks , built for controversy .
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An admitted egomaniac , Evans is no Hollywood villain , and yet this grating showcase almost makes you wish he 'd gone the way of Don Simpson .
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The audience when I saw this one was chuckling at all the wrong times , and that 's a bad sign when they 're supposed to be having a collective heart attack .
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Everyone 's to blame here .
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You get the impression that writer and director Burr Steers knows the territory ... but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools .
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Less a study in madness or love than a study in schoolgirl obsession .
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Rice never clearly defines his characters or gives us a reason to care about them .
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But what is missing from it all is a moral .
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Why did they deem it necessary to document all this emotional misery ?
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You see the movie and you think , zzzzzzzzz .
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Downright transparent is the script 's endless assault of embarrassingly ham-fisted sex jokes that reek of a script rewrite designed to garner the film a `` cooler '' PG-13 rating .
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The movie slides downhill as soon as macho action conventions assert themselves .
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Formulaic to the 51st power , more like .
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Howard and his co-stars all give committed performances , but they 're often undone by Howard 's self-conscious attempts to find a ` literary ' filmmaking style to match his subject .
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Comes off more like a misdemeanor , a flat , unconvincing drama that never catches fire .
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Offers absolutely nothing I had n't already seen .
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`` Analyze That '' is one of those crass , contrived sequels that not only fails on its own , but makes you second-guess your affection for the original .
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Suffice to say its total promise is left slightly unfulfilled .
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Complex , sinuously plotted and , somehow , off-puttingly cold .
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First-time writer-director Dylan Kidd also has a good ear for dialogue , and the characters sound like real people .
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... an airless , prepackaged Julia Roberts wannabe that stinks so badly of hard-sell image-mongering you 'll wonder if Lopez 's publicist should share screenwriting credit .
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Goldmember has none of the visual wit of the previous pictures , and it looks as though Jay Roach directed the film from the back of a taxicab .
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Could as easily have been called ` Under Siege 3 : In Alcatraz ' ... a cinematic corpse that never springs to life .
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In comparison to his earlier films it seems a disappointingly thin slice of lower-class London life ; despite the title ... amounts to surprisingly little .
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Lame Sweet Home leaves no Southern stereotype unturned .
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The jokes are sophomoric , stereotypes are sprinkled everywhere and the acting ranges from bad to bodacious .
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Will give many ministers and Bible-study groups hours of material to discuss .
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But mainstream audiences will find little of interest in this film , which is often preachy and poorly acted .
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In its chicken heart , Crush goes to absurd lengths to duck the very issues it raises .
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This long and relentlessly saccharine film is a clear case of preaching to the converted .
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The film is flat .
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The movie is a lumbering load of hokum but ... it 's at least watchable .
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An unbelievably stupid film , though occasionally fun enough to make you forget its absurdity .
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The first Fatal Attraction was vile enough .
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Do we really need the Tiger Beat version ?
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This Bond film goes off the beaten path , not necessarily for the better .
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The problem is that the movie has no idea of it is serious or not .
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When the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails .
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The elements were all there but lack of a pyschological center knocks it flat .
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An unsuccessful attempt at a movie of ideas .
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Queen of the Damned as you might have guessed , makes sorry use of Aaliyah in her one and only starring role -- she does little here but point at things that explode into flame .
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This toothless Dog , already on cable , loses all bite on the big screen .
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It made me feel unclean , and I 'm the guy who liked There 's Something About Mary and both American Pie movies .
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Not only is it hokey , manipulative and as bland as Wonder Bread dipped in milk , but it also does the absolute last thing we need Hollywood doing to us : It preaches .
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It 's so crammed with scenes and vistas and pretty moments that it 's left a few crucial things out , like character development and coherence .
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Serving Sara should be served an eviction notice at every theater stuck with it .
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A loud , low-budget and tired formula film that arrives cloaked in the euphemism ` urban drama . '
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The movie has a script -LRB- by Paul Pender -RRB- made of wood , and it 's relentlessly folksy , a procession of stagy set pieces stacked with binary oppositions .
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A pathetic exploitation film that tries to seem sincere , and just seems worse for the effort .
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At some point , all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .
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Despite some charm and heart , this quirky soccer import is forgettable
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Meyjes 's movie , like Max Rothman 's future , does not work .
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What 's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy .
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Schneidermeister ... Makin ' a fool of himself ... Losin ' his fan base ...
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Not once does it come close to being exciting .
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One of those strained caper movies that 's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .
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Needed a little less bling-bling and a lot more romance .
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It 's hard to believe these jokers are supposed to have pulled off four similar kidnappings before .
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I 'm not exactly sure what this movie thinks it is about .
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Cal is an unpleasantly shallow and immature character with whom to spend 110 claustrophobic minutes .
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The bottom line , at least in my opinion , is Imposter makes a better short story than it does a film .
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It is just too bad the film 's story does not live up to its style .
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Unless you 're a fanatic , the best advice is : ` Scooby ' do n't .
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A cautionary tale about the folly of superficiality that is itself endlessly superficial .
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If you 're looking to rekindle the magic of the first film , you 'll need a stronger stomach than us .
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Shreve 's graceful dual narrative gets clunky on the screen , and we keep getting torn away from the compelling historical tale to a less-compelling soap opera .
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Contains a few big laughs but many more that graze the funny bone or miss it altogether , in part because the consciously dumbed-down approach wears thin .
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Nothing more than a widget cranked out on an assembly line to see if stupid Americans will get a kick out of goofy Brits with cute accents performing ages-old slapstick and unfunny tricks .
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This is a film tailor-made for those who when they were in high school would choose the Cliff-Notes over reading a full-length classic .
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The movie is undone by a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads .
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