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This is a heartfelt story ... it just is n't a very involving one .
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These self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation .
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The fact that the ` best part ' of the movie comes from a 60-second homage to one of Demme 's good films does n't bode well for the rest of it .
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Richard Pryor mined his personal horrors and came up with a treasure chest of material , but Lawrence gives us mostly fool 's gold .
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... built on the premise that middle-class Arkansas consists of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from TV reruns and supermarket tabloids .
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A laughable -- or rather , unlaughable -- excuse for a film .
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Like a grinning Jack O ' Lantern , its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .
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A sentimental hybrid that could benefit from the spice of specificity .
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... familiar and predictable , and 4\/5ths of it might as well have come from a Xerox machine rather than -LRB- writer-director -RRB- Franc .
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Give Shapiro , Goldman , and Bolado credit for good intentions , but there 's nothing here that they could n't have done in half an hour .
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It 's so devoid of joy and energy it makes even Jason X ... look positively Shakesperean by comparison .
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One of the worst films of 2002 .
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plays like an unbalanced mixture of graphic combat footage and almost saccharine domestic interludes that are pure Hollywood .
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McTiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .
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High Crimes carries almost no organic intrigue as a government \/ Marine\/legal mystery , and that 's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue .
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This movie is about the worst thing Chan has done in the United States .
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The explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .
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This ludicrous film is predictable at every turn .
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An incredibly irritating comedy about thoroughly vacuous people ... manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .
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The film desperately sinks further and further into comedy futility .
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Instead of a balanced film that explains the zeitgeist that is the X Games , we get a cinematic postcard that 's superficial and unrealized .
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The crassness of this reactionary thriller is matched only by the ridiculousness of its premise .
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I wish it would have just gone more over-the-top instead of trying to have it both ways .
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The superior plotline is n't quite enough to drag along the dead -LRB- water -RRB- weight of the other .
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The film does n't really care about the thousands of Americans who die hideously , it cares about how Ryan meets his future wife and makes his start at the CIA .
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Adrift , Bentley and Hudson stare and sniffle , respectively , as Ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .
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After an hour and a half of wondering -- sometimes amusedly , sometimes impatiently -- just what this strenuously unconventional movie is supposed to be , you discover that the answer is as conventional as can be .
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` Linklater fans , or pretentious types who want to appear avant-garde will suck up to this project ... '
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A woefully dull , redundant concept that bears more than a whiff of exploitation , despite Iwai 's vaunted empathy .
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If you really want to understand what this story is really all about , you 're far better served by the source material .
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It 's mildly sentimental , unabashedly consumerist ... studiously inoffensive and completely disposable .
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Like its title character , Esther Kahn is unusual but unfortunately also irritating .
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The star who helped give a spark to `` Chasing Amy '' and `` Changing Lanes '' falls flat as thinking man CIA agent Jack Ryan in this summer 's new action film , `` The Sum of All Fears . ''
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A summary of the plot does n't quite do justice to the awfulness of the movie , for that comes through all too painfully in the execution .
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Every conceivable mistake a director could make in filming opera has been perpetrated here .
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Snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .
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-LRB- The film 's -RRB- taste for `` shock humor '' will wear thin on all but those weaned on the comedy of Tom Green and the Farrelly Brothers .
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Any enjoyment will be hinge from a personal threshold of watching sad but endearing characters do extremely unconventional things .
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Interminably bleak , to say nothing of boring .
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Things really get weird , though not particularly scary : the movie is all portent and no content .
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Oh , look at that clever angle !
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Demme finally succeeds in diminishing his stature from Oscar-winning master to lowly studio hack .
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The action scenes have all the suspense of a 20-car pileup , while the plot holes are big enough for a train car to drive through -- if Kaos had n't blown them all up .
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It almost feels as if the movie is more interested in entertaining itself than in amusing us .
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It puts Washington , as honest working man John Q. Archibald , on a pedestal , then keeps lifting the pedestal higher .
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Ultimately , the film amounts to being lectured to by tech-geeks , if you 're up for that sort of thing .
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Far more enjoyable than its predecessor .
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-LRB- Gayton 's script -RRB- telegraphs every discovery and layers on the gloss of convenience .
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Full Frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .
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A ragbag of cliches .
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The three leads produce adequate performances , but what 's missing from this material is any depth of feeling .
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It 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but the result is more puzzling than unsettling .
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This painfully unfunny farce traffics in tired stereotypes and encumbers itself with complications ... that have no bearing on the story .
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Short and sweet , but also more than anything else slight ... Tadpole pulls back from the consequences of its own actions and revelations .
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What more can be expected from a college comedy that 's target audience has n't graduated from junior high school ?
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The plan to make Enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller ' has flopped as surely as a soufflé gone wrong .
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Instead of letting the laughs come as they may , Lawrence unleashes his trademark misogyny -- er , comedy -- like a human volcano or an overflowing septic tank , take your pick .
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Just send it to Cranky .
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We do n't get paid enough to sit through crap like this .
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An even more predictable , cliche-ridden endeavor than its predecessor .
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The whole thing plays like a tired Tyco ad .
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The film does n't show enough of the creative process or even of what was created for the non-fan to figure out what makes Wilco a big deal .
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No , I do n't know why Steven Seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money .
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Even by the intentionally low standards of frat-boy humor , Sorority Boys is a bowser .
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One well-timed explosion in a movie can be a knockout , but a hundred of them can be numbing .
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Halfway through , however , having sucked dry the undead action flick formula , Blade II mutates into a gross-out monster movie with effects that are more silly than scary .
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Weighted down with slow , uninvolving storytelling and flat acting .
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We ca n't accuse Kung Pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie .
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Unfortunately , we 'd prefer a simple misfire .
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There is n't one moment in the film that surprises or delights .
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Most of the information has already appeared in one forum or another and , no matter how Broomfield dresses it up , it tends to speculation , conspiracy theories or , at best , circumstantial evidence .
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This movie , a certain scene in particular , brought me uncomfortably close to losing my lunch .
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The secrets of time travel will have been discovered , indulged in and rejected as boring before I see this piece of crap again .
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Chelsea Walls is a case of too many chefs fussing over too weak a recipe .
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Every joke is repeated at least four times .
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Every joke is repeated at least four times .
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Every joke is repeated at least -- annoying , is n't it ?
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Comes across as a fairly weak retooling .
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The lousy lead performances ... keep the movie from ever reaching the comic heights it obviously desired .
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Its and pieces of The Hot Chick are so hilarious , and Schneider 's performance is so fine , it 's a real shame that so much of the movie -- again , as in The Animal -- is a slapdash mess .
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-LRB- Creates -RRB- the worst kind of mythologizing , the kind that sacrifices real heroism and abject suffering for melodrama .
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The movie resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .
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Earnest and heartfelt but undernourished and plodding .
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A sugar-coated Rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .
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Romanek keeps adding flourishes -- artsy fantasy sequences -- that simply feel wrong .
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They cheapen the overall effect .
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Has all the complexity and realistic human behavior of an episode of General Hospital .
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An acceptable way to pass a little over an hour with moviegoers ages 8-10 , but it 's unlikely to inspire anything more than a visit to McDonald 's , let alone some savvy street activism .
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An exercise in cynicism every bit as ugly as the shabby digital photography and muddy sound .
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Not good enough to pass for a litmus test of the generation gap and not bad enough to repulse any generation of its fans .
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The movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension .
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Watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say , when Carol Kane appears on the screen .
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The scriptwriters are no less a menace to society than the film 's characters .
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The film has a nearly terminal case of the cutes , and it 's neither as funny nor as charming as it thinks it is .
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More a gunfest than a Rock concert .
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It 's a frightful vanity film that , no doubt , pays off what debt Miramax felt they owed to Benigni .
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A muddy psychological thriller rife with miscalculations .
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It makes me say the obvious : Abandon all hope of a good movie ye who enter here .
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It 's not original enough .
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A listless sci-fi comedy in which Eddie Murphy deploys two guises and elaborate futuristic sets to no particularly memorable effect .
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