time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference


, and intelligent


will give you goosebumps as its uncanny tale of love , communal discord , and justice


lots of effort and intelligence are on display but in execution it is all awkward , static , and lifeless rumblings .


the ensemble cast , the flat dialogue by vincent r. nebrida or


bertrand tavernier 's oft-brilliant safe conduct ( `` laissez-passer '' )


a solid , well-formed satire


muccino either does n't notice when his story ends or just ca n't tear himself away from the characters


... a rich and intelligent film that uses its pulpy core conceit to probe questions of attraction and interdependence and how the heart accomodates practical needs .


as chilling and fascinating as philippe mora 's modern hitler-study


me want to pack raw dough in my ears


beautifully shot , delicately scored and powered by a set of heartfelt performances


a vibrant whirlwind of love , family and all that


it 's a beautiful film , full of elaborate and twisted characters - and it 's also pretty funny


which become strangely impersonal and abstract


is a man who uses the damage of war -- far more often than the warfare itself -- to create the kind of art shots that fill gallery shows


a technically superb film


its leaden acting , dull exposition and telegraphed ` surprises


remembered in the endlessly challenging maze of moviegoing


the sum of all fears generates little narrative momentum , and invites unflattering comparisons to other installments in the ryan series .


this story of a determined woman 's courage to find her husband in a war zone offers winning performances and some effecting moments .


paper-thin and decidedly unoriginal


a mood in which an ominous , pervasive , and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense


it 's pleasant enough -- and oozing with attractive men


clever , amusing and unpredictable


us too drunk on the party favors to sober us up with the transparent attempts at moralizing


the good and different


, far more meaningful story


so much that this arrogant richard pryor wannabe 's routine is offensive , puerile and unimaginatively foul-mouthed if it was at least funny


demonstrates that werner herzog can still leave us with a sense of wonder at the diverse , marvelously twisted shapes history has taken


be viewed as pure composition and form --


astonishingly skillful and moving ... it could become a historically significant work as well as a masterfully made one .


its generic villains lack any intrigue ( other than their funny accents ) and the action scenes are poorly delivered .


its underventilated père-fils confrontations


found myself growing more and more frustrated and detached as vincent became more and more abhorrent .


refreshingly unhibited enthusiasm


loosely connected


( the film ) works , due mostly to the tongue-in-cheek attitude of the screenplay


boring , self-important stories of how horrible we are to ourselves and each other


a quietly moving look back at what it was to be iranian-american in 1979 .


the movie 's fragmentary narrative style makes piecing the story together frustrating difficult


pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick .


the only question ... is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering .


they will have a showdown , but , by then , your senses are as mushy as peas and


check your brain and your secret agent decoder ring at the door because you do n't want to think too much about what 's going on .


by its art and heart


jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .


to the junk-calorie suspense tropes that have all but ruined his career


deliver a riveting and surprisingly romantic ride .


that the era of the intelligent , well-made b movie is long gone


by turns gripping , amusing , tender and heart-wrenching


exposes the limitations of his skill and the basic flaws in his vision


this is a frustrating patchwork : an uneasy marriage of louis begley 's source novel ( about schmidt ) and an old payne screenplay .


the action quickly sinks into by-the-numbers territory .


to deliver awe-inspiring , at times sublime , visuals


loses all bite on the big screen


enjoyably dumb , sweet , and intermittently hilarious -- if you 've a taste for the quirky , steal a glimpse .


remarkable and memorable film


if allen , at 66 , has stopped challenging himself


on the local flavor with a hugely enjoyable film about changing times , clashing cultures and the pleasures of a well-made pizza


terminally bland , painfully slow and needlessly confusing ... the movie , shot on digital videotape rather than film , is frequently indecipherable .


is far-flung , illogical , and plain stupid


mr. polanski is in his element here : alone , abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival .


forgotten the movie by the time you get back to your car in the parking lot


redundant and inauthentic


seen and debated with appropriate ferocity and thoughtfulness


walked out muttering words like `` horrible '' and `` terrible , '' but


to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you


do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material


shining with all the usual spielberg flair , expertly utilizing the talents of his top-notch creative team


the production design , score and choreography are simply intoxicating .


the sword fighting is well done and auteuil is a goofy pleasure .


be as simultaneously funny , offbeat and heartwarming


... a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old , would have a good time here .


thriller with enough unexpected twists to keep our interest


seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little .


that is funny , touching , smart and complicated


it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .


a spoof comedy that carries its share of laughs -- sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh .


the concert footage is stirring , the recording sessions are intriguing , and -- on the way to striking a blow for artistic integrity -- this quality band may pick up new admirers .


imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama


jim brown , a celebrated wonder in the spotlight


from its unsettling prognosis


its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism


little more than a stylish exercise in revisionism whose point ... is no doubt true , but serves as a rather thin moral to such a knowing fable .


so many red herrings , so many false scares ,


it 's the butt of its own joke


releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults


deeply felt and vividly detailed story about newcomers in a strange new world .


with poetic force and buoyant feeling


like an all-star salute


it 's no accident that the accidental spy is a solid action pic that returns the martial arts master to top form .


can just follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity


is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema


a well-defined sense


a true and historically significant story


with all the sympathy , empathy and pity fogging up the screen ... his secret life enters the land of unintentional melodrama and tiresome love triangles .


from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb


casting shatner as a legendary professor and kunis as a brilliant college student -- where 's pauly shore as the rocket scientist ?


viscerally repellent


miscalculates badly by forcing the star to play second fiddle to the dull effects that allow the suit to come to life .


may be galled that you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie


bucked the odds to emerge as an exquisite motion picture in its own right


, dumb and derivative horror


has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .


of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly


the film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises .


is really frustratingly timid and soggy


this vapid vehicle is downright doltish and uneventful


, director robert j. siegel allows the characters to inhabit their world without cleaving to a narrative arc .


a journey spanning nearly three decades of bittersweet camaraderie and history , in which we feel that we truly know what makes holly and marina tick ,


delicious and delicately funny look


the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .


should never forget


a rare treat that shows the promise of digital filmmaking


while dutifully pulling on heartstrings , directors dean deblois and chris sanders valiantly keep punching up the mix .


a rare window on an artistic collaboration


the visual flair and bouncing bravado that characterizes better hip-hop clips and is content to recycle images and characters that were already tired 10 years ago


suffers from too much norma rae and not enough pretty woman


a vile , incoherent mess ... a scummy ripoff of david cronenberg 's brilliant ` videodrome . '


, standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill


strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder


a movie of riveting power and sadness


poorly written , murky and weakly acted


blanchett and ribisi compellingly tap into a spiritual aspect of their characters ' suffering


provides a very moving and revelatory footnote to the holocaust .


is too often like looking over the outdated clothes and plastic knickknacks at your neighbor 's garage sale .


the film has the courage of its convictions and excellent performances on its side .


actually seem to understand what made allen 's romantic comedies so pertinent and enduring


to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad


desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s


the most depressing movie-going experiences


is hardly a perverse , dangerous libertine and agitator -- which would have made for better drama .


what a world we 'd live in if argento 's hollywood counterparts ... had this much imagination and nerve


form at once visceral and spiritual , wonderfully vulgar and sublimely lofty -- and as emotionally grand as life .


walk out of the good girl


should 've been so much more even if it was only made for teenage boys and wrestling fans


beautifully reclaiming the story of carmen and recreating it an in an african idiom


that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks


obvious and lengthy


the nonstop artifice ultimately proves tiresome , with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations .


is a deeply unpleasant experience .


this is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight , and the whole of the proceedings beg the question ` why ? '


when the right movie comes along , especially if it begins with the name of star wars


the incredible imax sound system lets you feel the beat down to your toes


enormously enjoyable


achieves its emotional power and moments of revelation with restraint and a delicate ambiguity .


what with all the blanket statements and dime-store ruminations on vanity


creates a portrait of two strong men in conflict , inextricably entwined through family history


cinematography and exhilarating


demme finally succeeds in diminishing his stature from oscar-winning master to lowly studio hack .


that throws a bunch of hot-button items in the viewer 's face and asks to be seen as hip , winking social commentary


gritty realism , crisp storytelling and radiant compassion that effortlessly draws you in


nearly as fresh or enjoyable


timely and important


's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today .


the story subtle and us in suspense


makes for a touching love story , mainly because blanchett and ribisi compellingly tap into a spiritual aspect of their characters ' suffering


to go see this unique and entertaining twist on the classic whale 's tale


also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .


a memorable directorial debut


as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points


funny and touching film


uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them .


beautiful and


fails to match the freshness of the actress-producer and writer


has humor and heart and very talented young actors


the viewer takes great pleasure in watching the resourceful molly stay a step ahead of her pursuers .


a family-oriented non-disney film


the story of trouble every day ... is so sketchy it amounts to little more than preliminary notes for a science-fiction horror film , and the movie 's fragmentary narrative style makes piecing the story together frustrating difficult


crafted , engaging filmmaking that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing


they toss logic and science into what is essentially a `` dungeons and dragons '' fantasy with modern military weaponry ...


a terribly obvious melodrama and rough-hewn vanity project


feels homogenized and a bit contrived , as if we 're looking back at a tattered and ugly past with rose-tinted glasses .


is throwing up his hands in surrender , is firing his r&d people , and


no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract


to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device


one of those movies barely registering a blip on the radar screen of 2002


a zombie movie in every sense of the word -- mindless , lifeless , meandering , loud , painful , obnoxious .


to the filmmaker 's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent


strokes the eyeballs while it evaporates like so much crypt mist in the brain


one of the rare directors who feels acting is the heart and soul of cinema


's lovely and amazing , from her own screenplay , jumps to the head of the class of women 's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style


the raw comic energy


freshness and spirit


and cinemantic flair


being lectured to by tech-geeks , if you 're up for that sort of thing


this illuminating comedy


while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself


updates the setting in an attempt to make the film relevant today , without fully understanding what it was that made the story relevant in the first place .


have been made by people to whom the idea of narrative logic or cohesion is an entirely foreign concept


working from a surprisingly sensitive script co-written by gianni romoli ...


by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre .


dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product


a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ;


theological matters aside , the movie is so clumsily sentimental and ineptly directed it may leave you speaking in tongues .


it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but


seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum


well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances of the grieving process .


to burn the negative and the script and pretend the whole thing never existed


you value your time and money


, the movie stirs us as well .


crudely literal


a fascinating , dark thriller that keeps you hooked on the delicious pulpiness of its lurid fiction .


vainly


an inept , tedious spoof of '70s kung fu pictures , it contains almost enough chuckles for a three-minute sketch , and no more .


, ballistic : ecks vs. sever also features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase .


is suspenseful and ultimately unpredictable , with a sterling ensemble cast .


full of flatulence jokes and mild sexual references , kung pow


walked out muttering words like `` horrible '' and `` terrible , '' but had so much fun dissing the film that they did n't mind the ticket cost .


a uniquely sensual metaphorical dramatization of sexual obsession


fascinating ... an often intense character study about fathers and sons , loyalty and duty .


things really get weird , though not particularly scary : the movie is all portent and no content


from two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected


( and literally ) tosses around sex toys and offers half-hearted paeans to empowerment that are repeatedly undercut by the brutality of the jokes , most at women 's expense .


makes for perfectly acceptable , occasionally very enjoyable children 's entertainment .


delivered in grand passion by the members of the various households


is that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep .


to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits


a living testament to the power of the eccentric and the strange .


allen 's romantic comedies so pertinent and enduring


i suspect this is the kind of production that would have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd .


more good than great but freeman and judd make it work .


the stuffiest cinema goers


getting in its own way to be anything but frustrating , boring , and forgettable


a smart movie


bad alternative music


as a girl-meets-girl romantic comedy , kissing jessica steinis quirky , charming and often hilarious .


a family film that contains some hefty thematic material on time , death , eternity , and what is needed to live a rich and full life .


look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy


though this saga would be terrific to read about , it is dicey screen material that only a genius should touch .


martha will leave you with a smile on your face and a grumble in your stomach .


michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and


makes you believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film .


this shocking testament to anti-semitism and neo-fascism


giddy and whimsical and relevant today


when it reminds you how pertinent its dynamics remain


makes this man so watchable is a tribute not only to his craft , but to his legend .


as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned


ambiguous enough to be engaging and oddly moving


has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .


found myself growing more and more frustrated and detached as vincent became more and more abhorrent


, de niro and murphy make showtime the most savory and hilarious guilty pleasure of many a recent movie season .


takes us on an examination of young adult life in urban south korea through the hearts and minds of the five principals


loud , low-budget and tired formula film


green is ) the comedy equivalent of saddam hussein , and i 'm just about ready to go to the u.n. and ask permission for a preemptive strike .


made indieflick in need of some trims and a more chemistry between its stars


a fluid and mesmerizing sequence


expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune ) than this cliche pileup .


richly detailed , deftly executed and utterly absorbing


subtlety has never been his trademark


trashy teen-sleaze equivalent


this painfully unfunny farce traffics in tired stereotypes and encumbers itself with complications ... that have no bearing on the story .


hilariously , gloriously alive , and quite often hotter


of one unstable man


's lovely and amazing


if the movie is more interested in entertaining itself than in amusing us


lovely and beautifully


all he 's done is to reduce everything he touches to a shrill , didactic cartoon


truly egregious lip-non-synching


who has secrets buried at the heart of his story and knows how to take time revealing them


try as you might to resist , if you 've got a place in your heart for smokey robinson , this movie will worm its way there .


wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie


to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them


of style , text , and subtext that 's so simple and precise that anything discordant would topple the balance


is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .


are gorgeous and finely detailed


a charming and evoking little ditty that manages to show the gentle and humane side of middle eastern world politics


michele is a such a brainless flibbertigibbet that it 's hard to take her spiritual quest at all seriously .


a rare and lightly entertaining


both charming


as a thoughtful and unflinching examination of an alternative lifestyle , sex with strangers is a success .


too neat and new pin-like


be delighted with the fast , funny , and even touching story


the most creative , energetic and original comedies to hit the screen in years


nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives .


a sharp , amusing study of the cult


mixed up together like a term paper from a kid who ca n't quite distinguish one sci-fi work from another


is almost completely lacking in suspense , surprise and consistent emotional conviction


's so much to look at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles


allows us to forget that they are actually movie folk


enjoy this movie


a classic fairy tale that perfectly captures the wonders and worries of childhood


is n't a product of its cinematic predecessors so much as an mtv , sugar hysteria , and playstation cocktail .


can disguise the fact that the new film is a lame kiddie flick and that carvey 's considerable talents are wasted in it


it puts washington , as honest working man john q. archibald , on a pedestal , then keeps lifting the pedestal higher .


is something that is so meditative and lyrical about babak payami 's boldly quirky iranian drama secret ballot ... a charming and evoking little ditty that manages to show the gentle and humane side of middle eastern world politics


a deeply felt and vividly detailed story about newcomers in a strange new world .


has the stomach-knotting suspense of a legal thriller , while the testimony of witnesses lends the film a resonant undertone of tragedy .


... spiced with humor ( ' i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and


, 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 .


beautiful , cold , oddly colorful and just plain otherworldly , a freaky bit of art that 's there to scare while we delight in the images .


schlocky creature


's just too boring and obvious


served by the movie 's sophomoric blend of shenanigans and slapstick , although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a ` topless tutorial service


has layered , well-developed characters and some surprises


is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors


fiji diver rusi vulakoro and the married couple howard and michelle hall )


its use of the thriller form to examine the labyrinthine ways in which people 's lives cross and change , buffeted by events seemingly out of their control ,


, ingenious


supposedly , pokemon ca n't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over


brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .


paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear


a fascinating , dark thriller


( fiji diver rusi vulakoro and the married couple howard and michelle hall )


best achievements


has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics .


here his sense of story and his juvenile camera movements smack of a film school undergrad ,


this is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight ,


... puts enough salt into the wounds of the tortured and self-conscious material to make it sting .


's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships


a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document --


a movie that ends up slapping its target audience in the face by shooting itself in the foot


with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations


ragbag


beautiful , entertaining two hours


exude an air of dignity that 's perfect for the proud warrior that still lingers in the souls of these characters .


gorgeous to look at but insufferably tedious and turgid ... a curiously constricted epic .


streamed across its borders


's sharply comic and surprisingly touching , so hold the gong


, unfussily poetic


get to see the one of the world 's best actors , daniel auteuil ,


put together by some cynical creeps at revolution studios and imagine entertainment to make the suckers out there surrender $ 9 and 93 minutes of unrecoverable life .


, is wry and engrossing .


is small in scope , yet perfectly formed


, the viewer is left puzzled by the mechanics of the delivery


like a powerful 1957 drama we 've somehow never seen before


each story is built on a potentially interesting idea , but the first two are ruined by amateurish writing and acting , while the third feels limited by its short running time .


a vehicle to showcase the canadian 's inane ramblings


is ultimately what makes shanghai ghetto move beyond a good , dry , reliable textbook and what allows it to rank with its worthy predecessors .


a funny , triumphant , and moving documentary .


bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie


vibrant , colorful , semimusical


works on some levels and is certainly worth seeing at least once .


, it 's one of the most beautiful , evocative works i 've seen .


fit all of pootie tang in between its punchlines


is little more than home alone raised to a new , self-deprecating level .


eventually gets around to its real emotional business , striking deep chords of sadness .


what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks ( at least during their '70s heyday ) comes across as lame and sophomoric in this debut indie feature .


, satisfying


sheerly beautiful


it 's mildly sentimental , unabashedly consumerist ... studiously inoffensive and completely disposable .


timeless and universal tale


a.e.w. mason 's story to suit the sensibilities of a young american , a decision that plucks `` the four feathers '' bare


to overcome the cultural moat surrounding its ludicrous and contrived plot


warm , moving message


clichés and borrowed images


a classic fairy tale that perfectly captures the wonders and worries of childhood in a way that few movies have ever approached


can only love the players it brings to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history


an enjoyable above average summer diversion .


the movie 's major and most devastating flaw is its reliance on formula , though , and


, pointless meditation on losers in a gone-to-seed hotel .


is contrived , unmotivated , and psychologically unpersuasive , with an inconclusive ending


shining with all the usual spielberg flair , expertly


give you goosebumps as its uncanny tale of love , communal discord , and justice


there is a certain sense of experimentation and improvisation to this film that may not always work ,


, warm water may well be the year 's best and most unpredictable comedy .


every visual joke is milked , every set-up obvious and lengthy , every punchline predictable .


marcus adams just copies from various sources -- good sources , bad mixture


devotees of star trek ii : the wrath of khan will feel a nagging sense of deja vu , and the grandeur of the best next generation episodes is lacking .


humor , warmth , and intelligence


its generic villains lack any intrigue ( other than their funny accents ) and


smart , funny and just honest enough to provide the pleasures of a slightly naughty , just-above-average off - broadway play


the redeeming feature of chan 's films has always been the action , but the stunts in the tuxedo seem tired and , what 's worse , routine


a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little


vardalos and corbett , who play their roles with vibrant charm


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 .


a funny yet dark


for wrapping the theater in a cold blanket of urban desperation


an epic four-hour indian musical


mostly honest , this somber picture reveals itself slowly , intelligently , artfully .


adaptation is intricately constructed


i ca n't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops .


this arrogant richard pryor wannabe 's routine is offensive , puerile and unimaginatively foul-mouthed if it was at least funny


it 's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic .


realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already


have infused frida with a visual style unique and inherent to the titular character 's paintings and in the process created a masterful work of art of their own .


works because of the universal themes , earnest performances ... and excellent use of music by india 's popular gulzar and jagjit singh


film school undergrad


wildly careening tone


gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry


a thoroughly engaging , surprisingly touching british comedy


you might to resist , if you 've got a place in your heart for smokey robinson


writer/director david caesar ladles on the local flavor with a hugely enjoyable film about changing times , clashing cultures and the pleasures of a well-made pizza .


a terrible movie , just a stultifyingly obvious one


will find little of interest in this film , which is often preachy and poorly acted


, queen of the damned is a pointless , meandering celebration of the goth-vampire , tortured woe-is-me lifestyle .


loosely speaking , we 're in all of me territory again , and


can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .


it 's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one


the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .


its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale


kissing jessica steinis quirky , charming and often hilarious .


, it would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .


is nothing funny in this every-joke-has - been-told-a - thousand-times - before movie .


who are either too goodly , wise and knowing or downright comically evil


stroked , luridly colored , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .


afraid of the bad reviews they thought they 'd earn


to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up


cheapen the overall effect


good for this sucker


a clumsily manufactured exploitation flick , a style-free exercise in manipulation and mayhem .


one of the best looking and stylish animated movies in quite a while ...


a half-hearted fluke


of story and his juvenile camera movements


at once visceral and spiritual , wonderfully vulgar and sublimely lofty --


get for a buck or so in that greasy little vidgame pit in the theater lobby


... plays like a badly edited , 91-minute trailer ( and ) the director ca n't seem to get a coherent rhythm going .


wonders , enhancing the cultural and economic subtext , bringing richer meaning to the story 's morals .


has hugely imaginative and successful casting to its great credit , as well as one terrific score and attitude to spare .


a powerful and reasonably fulfilling gestalt


the château would have been benefited from a sharper , cleaner script before it went in front of the camera .


it 's mildly interesting to ponder the peculiar american style of justice that plays out here , but it 's so muddled and derivative that few will bother thinking it all through


this is the sort of low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .


both stars are appealing enough to probably have a good shot at a hollywood career , if they want one


the lack of naturalness makes everything seem self-consciously poetic and forced ... it 's a pity that ( nelson 's ) achievement does n't match his ambition


is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love


engrossing portrait


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 .


like mike is a slight and uninventive movie : like the exalted michael jordan referred to in the title , many can aspire but none can equal .


fresh , sometimes funny , and usually genuinely worthwhile


abandoned ,


begins as a seven rip-off , only to switch to a mix of the shining , the thing , and any naked teenagers horror flick from the 1980s


, funny and beautifully


has thrown every suspenseful cliché in the book at this nonsensical story .


a film that begins with the everyday lives of naval personnel in san diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times i saw the film .


has delivered a solidly entertaining and moving family drama


, uncommonly sincere movie that portrays the frank humanity of ... emotional recovery


philosophical emptiness and maddeningly sedate pacing


, luridly colored , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain


great performances , stylish cinematography and a gritty feel help make gangster no. 1 a worthwhile moviegoing experience .


how love is the great equalizer that can calm us of our daily ills and bring out joys in our lives that we never knew


the women look more like stereotypical caretakers and moral teachers , instead of serious athletes


the fact that it is n't very good


the lively intelligence of the artists and


's the brilliant surfing photography bringing you right inside the massive waves that lifts blue crush into one of the summer 's most pleasurable movies .


`` ... something appears to have been lost in the translation this time .


much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché .


and unsettling subject matter


is on full , irritating display


so intimate and sensual and funny and psychologically self-revealing


leave the auditorium feeling dizzy , confused , and totally disorientated


an uncluttered , resonant gem that relays its universal points without lectures or confrontations .


is a more fascinating look at the future than `` bladerunner '' and one of the most high-concept sci fi adventures attempted for the screen


hugely enjoyable in its own right


hastily and amateurishly


with his inescapable past and uncertain future in a very shapable but largely unfulfilling present


raises some worthwhile themes while delivering a wholesome fantasy for kids


enormously entertaining


a film -- full of life and small delights -- that has all the wiggling energy of young kitten


a moving tale of love and destruction in unexpected places


that hitler 's destiny was shaped by the most random of chances


embraces its old-fashioned themes


clever and very satisfying


's an excellent 90-minute film


been there , done that , liked it much better the first time around - when it was called the professional .


helpful to listen to extremist name-calling , regardless of whether you think kissinger was a calculating fiend or just a slippery self-promoter


the mystery of enigma is how a rich historical subject , combined with so much first-rate talent ... could have yielded such a flat , plodding picture .


love and compassion


naomi watts is terrific as rachel ; her petite frame and vulnerable persona emphasising her plight and isolation .


poetic force and buoyant feeling


a genuine love story ,


children 's entertainment , superhero comics


does n't contain half the excitement of balto , or quarter the fun of toy story 2


one of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes of tenderness , loss , discontent , and yearning .


fincher takes no apparent joy in making movies , and he gives none to the audience


who are alternately touching and funny


see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid ''


the whole package certainly captures the intended , er , spirit of the piece


this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre


is fun , and host to some truly excellent sequences .


driven by a fantastic dual performance from ian holm ... the film is funny , insightfully human and a delightful lark for history buffs .


, the movie 's wildly careening tone and an extremely flat lead performance do little to salvage this filmmaker 's flailing reputation .


it 's hard to say who might enjoy this , are there tolstoy groupies out there ?


its elegantly colorful look and sound


than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence


she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions .


is leguizamo 's best movie work so far , a subtle and richly internalized performance .


a minimalist beauty


quiet , introspective and entertaining


lost in the `` soon-to-be-forgettable '' section of the quirky rip-off prison


many went to see the attraction for the sole reason that it was hot outside and there was air conditioning inside , and


for quality and a nostalgic , twisty yarn that will keep them guessing


a phenomenal band with such an engrossing story that will capture the minds and hearts of many


a time machine , a journey back to your childhood , when cares melted away in the dark theater , and films had the ability to mesmerize , astonish and entertain .


forgiven for realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already


your reward will be a thoughtful , emotional movie experience .


thanks to the gorgeous locales and exceptional lead performances


what lifts the film high above run-of-the-filth gangster flicks


this is the first film in a long time that made me want to bolt the theater in the first 10 minutes .


for bug-eyed mugging and gay-niche condescension


at every opportunity to do something clever , the film goes right over the edge and kills every sense of believability


begin to long for the end credits as the desert does for rain


a superfluous sequel ... plagued by that old familiar feeling of ` let 's get this thing over with ' :


a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull


, intimate and intelligent


frozen tundra soap opera


's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships .


a temperamental child begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining


horns and halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth .


's also probably the most good-hearted yet sensual entertainment i 'm likely to see all year


is ultimately rather silly and overwrought , making the ambiguous ending seem goofy rather than provocative


deliberately and skillfully uses


its exquisite acting , inventive screenplay , mesmerizing music , and


is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .


making it awfully hard to buy the impetus for the complicated love triangle that develops between the three central characters


the picture provides a satisfyingly unsettling ride into the dark places of our national psyche .


provides a very moving and revelatory footnote to the holocaust


throws away the goodwill the first half of his movie generates by orchestrating a finale that is impenetrable and dull .


from the fact that the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea


sharp


's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming


's a feel-bad ending for a depressing story that throws a bunch of hot-button items in the viewer 's face and asks to be seen as hip , winking social commentary .


exasperating


mostly believable , refreshingly low-key and quietly inspirational


written , flatly , by david kendall and directed , barely , by there


to share his impressions of life and loss and time and art with us


wonderfully loopy tale of love , longing , and voting


besides its terrific performances , is fontaine 's willingness to wander into the dark areas of parent-child relationships without flinching .


refreshingly unhibited


have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy


it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie


, the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .


develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .


's meandering , low on energy , and too eager to be quirky at moments when a little old-fashioned storytelling would come in handy


a beautiful , timeless and universal tale of heated passions --


got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane


is the first film in a long time that made me want to bolt the theater in the first 10 minutes


sharp writing


focus on the hero 's odyssey from cowering poverty to courage and happiness


the movie does its best to work us over , with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds .


, from its promenade of barely clad bodies in myrtle beach , s.c. , to the adrenaline jolt of a sudden lunch rush at the diner


achieves its emotional power and moments of revelation with restraint and a delicate ambiguity


too many


the lack of naturalness makes everything seem self-consciously poetic and forced ...


a satisfying well-made romantic comedy that 's both charming and well acted


writer-director juan carlos fresnadillo makes a feature debut that is fully formed and remarkably assured .


is just as boring and as obvious


the plot grows thin soon , and you find yourself praying for a quick resolution


hop beat


seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times .


a striking new significance for anyone who sees the film


boasting some of the most poorly staged and lit action in memory


it falls down in its attempts to humanize its subject


austin powers in goldmember has some unnecessary parts and is kinda wrong in places .


a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock


laugh-out-loud lines , adorably ditsy but heartfelt performances , and sparkling ,


an unflinching , complex portrait of a modern israel that is rarely seen on-screen .


gross-out flicks , college flicks , or


the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .


make an old-fashioned nature film that educates viewers with words and pictures while entertaining them


a solid , well-formed satire .


too bad to be good and


dull and ankle-deep


good and different


is life affirming and heartbreaking , sweet without the decay factor , funny and sad


a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's


appeals to the storytelling instincts of a slightly more literate filmgoing audience


surprisingly sweet and gentle comedy


skillfully assembled , highly polished and


a good human being


the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes


's sharply comic and surprisingly touching


is he has no character , loveable or otherwise .


( orlando jones )


the pseudo-educational stuff


just lapses into unhidden british


is so deadly dull that watching the proverbial paint dry would be a welcome improvement


it 's not particularly well made , but since i found myself howling more than cringing , i 'd say the film works .


there was ever a movie where the upbeat ending feels like a copout


than like a bottom-feeder sequel in the escape from new york series


is predictable


though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama .


was at least funny


depressed about anything before watching this film


what could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking .


unmemorable filler .


( has ) an immediacy


ruined by amateurish


timid


the triumph of his band


who sometimes defies sympathy


... irritating soul-searching garbage .


successfully blended satire , high camp and yet another sexual taboo into a really funny movie .


an exceptional thriller


redundancies


unlikable , uninteresting , unfunny , and completely ,


stop watching


inconsequential


notorious reputation


the nourishing aspects of love and companionship


lathan and diggs carry the film with their charisma , and both exhibit sharp comic timing that makes the more hackneyed elements of the film easier to digest .


there 's a sheer unbridled delight in the way


yet , it must be admitted


a top-notch cast


glory


calvin jr. 's barbershop represents some sort of beacon of hope in the middle of chicago 's south side


, self-hating , self-destructive ways


play like the worst kind of hollywood heart-string plucking .


fast-moving and cheerfully


if the video is n't back at blockbuster before midnight , you 're going to face frightening late fees


knew what the hell was coming next


is virtually unwatchable .


is right at home in this french shocker playing his usual bad boy weirdo role


big screen magic


friel pulls the strings that make williams sink into melancholia


a fullness that does not negate the subject


hollywood has crafted a solid formula for successful animated movies , and ice age only improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor .


expect no major discoveries , nor any stylish sizzle ,


, this remains a film about something , one that attempts and often achieves a level of connection and concern .


change watching such a character


degenerates


the overall experience is awesome


brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing .


phoney-feeling sentiment


cheap , b movie way


first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations becomes more and more frustrating as the film goes on .


quality and a nostalgic , twisty yarn that will keep them guessing


sandra bullock and hugh grant make a great team , but


would have likely wound up a tnt original


sharp , overmanipulative hollywood practices


is that those responsible did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home


unbearable when it is n't merely offensive .


is a complete mess


with absurdly inappropriate ` comedy ' scenes


finally have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for .


its ability to shock and amaze


lust and love


is so bad ,


low-tech


as ex-marine walter , who may or may not have shot kennedy , actor raymond j. barry is perfectly creepy and believable .


friendly


milder is n't better


this charming , thought-provoking new york fest


the kind of ` laugh therapy ' i need from movie comedies


with lots of laughs


is too busy hitting all of its assigned marks to take on any life of its own


the brutality


could hardly ask for more


evans ' career


older


touched


cold , gray , antiseptic


has usually


constricted


deafening


is a plodding mess


well-made and satisfying


such life-embracing spirit


bolado credit for good intentions


a french film with a more down-home flavor


light the candles , bring out the cake and


filled with more holes than clyde barrow 's car


he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure


naturally funny


go where the moment takes them


more simply intrusive to the story


campanella 's competent direction and his excellent cast


pleasurable


many moviegoers


onto the screen -- loud , violent and mindless


's an experience in understanding a unique culture that is presented with universal appeal .


creates in maelstrom a world where the bizarre is credible and the real turns magical


fits the bill


oversexed , at times overwrought comedy/drama that


friday after next spreads them pretty thin


it is handled with intelligence and care


bang your head


breakthrough


skewed to ever get a hold on


you 'll wait in vain for a movie to happen .


epic adventure


an inept , tedious spoof of '70s


phrase ` fatal script error


understanding a unique culture that is presented with universal appeal


own cuteness


an effectively chilling guilty pleasure


a testament to the divine calling of education and a demonstration of the painstaking


the cast , collectively a successful example of the lovable-loser protagonist , shows deft comic timing .


such an engrossing story that will capture the minds and hearts of many


its perfunctory conclusion


lingering death


leaves a bitter taste .


even though i could not stand them


much of what we see is horrible but it 's also undeniably exceedingly clever


's a whole heap of nothing at the core of this slight coming-of-age/coming-out tale


so many explosions


exploitative for the art houses and too cynical , small


( creates ) the worst kind of mythologizing , the kind that sacrifices real heroism and abject suffering for melodrama .


mr. deeds is , as comedy goes , very silly --


often watchable , though goofy and lurid , blast


like a three-ring circus , there are side stories aplenty -- none of them memorable .


unforgivingly inconsistent


a good surprise ending


, not scarier


so formulaic and forgettable that it 's hardly over before it begins to fade from memory


the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .


patchy combination


the ridiculousness


visually striking and


does little here


pretentious


jazzy new revisionist theories


`` cremaster 3 '' should come with the warning `` for serious film buffs only ! ''


miyazaki 's nonstop images are so stunning , and his imagination so vivid ,


it can impart an almost visceral sense of dislocation and change .


favorably


the distinct and very welcome sense of watching intelligent people making a movie


... with the gifted pearce on hand to keep things on semi-stable ground dramatically , this retooled machine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself .


ararat far more demanding than it needs to be


a love story and


it does cathartic truth telling


the trap of the maudlin or tearful


long-suffering


what 's best about


edge or


half past dead is like the rock on a wal-mart budget


dearly


contrived , awkward and


finally seem so impersonal or even shallow


a lighthearted glow , some impudent snickers , and a glorious dose of humankind 's liberating ability


is that it does n't give a damn


the best of hollywood 's comic-book


one hears harry shearer is going to make his debut as a film director


succeeds as a well-made evocation of a subculture


the movie slaloming through its hackneyed elements with enjoyable ease


how long will filmmakers copy the `` saving private ryan '' battle scenes before realizing steven spielberg


had this much imagination and nerve


distinguish one sci-fi work from another


iles


reveals itself slowly , intelligently , artfully .


heartfelt concern


good dialogue


does not go far enough in its humor or stock ideas to stand out as particularly memorable or even all that funny .


dense , exhilarating documentary


this engaging mix of love and bloodletting


loved it


intermittently powerful study


offers few surprises


that it jams too many prefabricated story elements into the running time


collapses like an overcooked soufflé .


of the things costner movies are known for


all menace and atmosphere


yong kang


fewer deliberate laughs , more inadvertent ones and stunningly trite


shallow and dim-witted


makes a better short story


badly interlocked stories drowned by all too clever complexity .


serving sara '' has n't much more to serve than silly fluff


's not that funny --


a delightful entree


disposable story


emotionally complex , dramatically satisfying heroine


spends a bit too much time


too campy to work as straight drama


an hour 's worth of actual material


bold choices


will see nothing in it to match the ordeal of sitting through it


we had to endure last summer


by a set of heartfelt performances


a terrific b movie --


glory days


the rich promise


compared to his series of spectacular belly flops both on and off the screen , runteldat is something of a triumph .


fly with most intelligent viewers


sit through , enjoy on a certain level and


assaultive


, romance , tragedy , false dawns , real dawns , comic relief


despite iwai 's vaunted empathy


welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion


drama , conflict , tears and surprise --


the upscale lifestyle


builds up to its insanely staged ballroom scene , in which 3000 actors appear in full regalia


that makes michael jordan jealous


add up to a biting satire that has no teeth .


the premise of `` abandon '' holds promise , ... but its delivery is a complete mess .


from her own screenplay , jumps to the head of the class of women 's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style


traffics in tired stereotypes and encumbers itself with complications


'' is one of those crass , contrived sequels that not only fails on its own , but makes you second-guess your affection for the original .


of an historical episode that , in the simple telling , proves simultaneously harrowing and uplifting


represents an engaging and intimate first feature by a talented director to watch


have a radar for juicy roles


sits there like a side dish no one ordered


boasts eye-catching art direction but has a forcefully quirky tone that quickly wears out its limited welcome .


have written a more credible script , though with the same number of continuity errors


fast-paced and wonderfully edited , the film is extremely thorough .


talky , artificial and opaque ... an interesting technical exercise


clueless


full of cheesy dialogue , but great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s


shines on all the characters


you 're gon na like this movie .


was n't just bad


ineptly directed action sequences and some of the worst dialogue in recent memory .


as enlightening , insightful and entertaining as grant 's two best films


witty , improbable romantic comedy


, it is twice as bestial but half as funny .


discovering your destination in life


into the script , which has a handful of smart jokes


is a such a brainless flibbertigibbet


articulates


the best , most


dramatically lackluster .


refreshingly ,


it was only a matter of time before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo .


this is one of the outstanding thrillers of recent years .


that 's fun for kids of any age .


interesting bit


to recite bland police procedural details , fiennes wanders around in an attempt


about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces ... positively dreadful .


in the right direction


, vicious and absurd


is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time


it pretends to expose the life of male hustlers


the barn-burningly bad movie it promised it would be


too clichéd and too often strains credulity


hard-driving


made a movie that is n't just offensive


has made a film so unabashedly hopeful that it actually makes the heart soar .


as it is hard to resist


may be incomprehensible to moviegoers not already clad in basic black .


, proves simultaneously harrowing and uplifting


remarkably assured


bolstered by an astonishing voice cast ( excepting love hewitt ) , an interesting racial tension , and a storyline that i have n't encountered since at least pete 's dragon


love robin tunney


yourself wishing that you and they were in another movie


the gander , some of which occasionally amuses but none of which amounts to much of a story


little to salvage this filmmaker 's flailing reputation


its courage , ideas , technical proficiency and great acting


is n't that stealing harvard is a horrible movie -- if only it were that grand a failure


gutsy and


... flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue and a wide supply of effective sight gags .


trying to sneak out of the theater


newcastle , the first half of gangster no. 1 drips with style


the film lacks momentum and its position remains mostly undeterminable


slap her - she 's not funny !


too little excitement and


questionable satirical ambivalence


drown out


buried somewhere inside its fabric , but never clearly


grinning


is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad


hardly distinguish it from the next teen comedy


favorite musical


imax cinema


a heart , mind or humor of its own


has already appeared in one forum or another


kind , unapologetic , sweetheart


not only are the film 's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .


laughingly


so much fun


with universal appeal


in love with a girl


an uncomfortable movie , suffocating and sometimes almost senseless , the grey zone


notwithstanding my problem with the movie 's final half hour , i 'm going to recommend secretary , based on the wonderful acting clinic put on by spader and gyllenhaal , and also the unique way shainberg goes about telling what at heart is a sweet little girl -


as deep as a petri dish


more than four


is a pretty decent little documentary


that rare animal known as ' a perfect family film


by generic scripts that seek to remake sleepless in seattle again and again


the exclamation point seems to be the only bit of glee


not scary


good little movie


rowdy slapstick


is the performance of gedeck , who makes martha enormously endearing .


it challenges , this nervy oddity , like modern art should .


make interesting a subject you thought would leave you cold


the film 's crisp , unaffected style and


's depressing to see how far herzog has fallen .


recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms


a very funny , heartwarming film


and cinematic deception


is nearly incoherent


only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley 's flopping dolphin-gasm .


the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated ,


of seeing justice served


65-minute trifle


, it should pay reparations to viewers .


it 's a visual rorschach test and i must have failed


the old mib label stands for milder is n't better .


a so-called ` comedy ' and not laugh


connoisseurs of chinese film will be pleased to discover that tian 's meticulous talent has not withered during his enforced hiatus .


outstanding feature debut


terminally bland , painfully slow and needlessly confusing


borrows from other movies


as a fairly weak retooling


its leaden acting


airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length


a delightful , witty , improbable romantic comedy with a zippy jazzy score


the film is a hoot , and is just as good , if not better than much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand .


the biggest names in japanese anime ,


veers like a drunken driver


i 'm convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking .


're going to feel like you were n't invited to the party


this in-depth study of important developments of the computer industry


will prefer this new version


allowing us to find the small , human moments ,


two-way


a bad sign when directors abandon their scripts and go where the moment takes them


the knee-jerk misogyny that passes for humor in so many teenage comedies


no reason to watch


with the american dream


a thoroughly entertaining comedy that


to surrealism and black comedy


do n't want to think too much about what 's going on


aimlessly and unsuccessfully attempts to fuse at least three dull plots into one good one .


second-rate


a disaster


mr. nachtwey has traveled to places in the world devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity .


a sobering and powerful documentary about the most severe kind of personal loss :


and church meetings


rotten in the state of california


insufferably


the pay-off is negligible


strong erotic


after seeing ` analyze that , ' i feel better already .


wise and knowing


a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort


the chateau ... is less concerned with cultural and political issues than doting on its eccentric characters .


real emotional impact


could relish


pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators


'll like it


a trend


is about the worst thing chan has done in the united states


very original


somehow manages to escape the shackles of its own clichés to be the best espionage picture to come out in weeks .


, soap opera-ish dialogue


good actors , good poetry and good music


the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no. 1 drips with style and , at times , blood .


there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch .


have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie


a shrill , didactic cartoon


to the most enchanting film of the year


sexual jealousy , resentment and the fine


ideas and wry comic mayhem


a pretty decent little documentary


to what is almost certainly going to go down as the worst -- and only -- killer website movie of this or any other year


littered with zero-dimensional , unlikable characters and hackneyed , threadbare comic setups .


cultural and economic subtext


fascinating little thriller


sustain its initial promise with a jarring , new-agey tone creeping into the second half


could use a little more humanity ,


that was old when ` angels with dirty faces ' appeared in 1938


convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking


of unfaithful


a fascinating curiosity piece -- fascinating ,


the film 's strength is n't in its details , but in the larger picture it paints - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepest , media-soaked fears .


is fascinating ...


probe questions of attraction and interdependence


visually atrocious ,


the cute frissons of discovery and humor between chaplin and kidman


wisdom and emotion


by corrupt and hedonistic weasels


posey


dead-end existence


has a gentle , unforced intimacy that never becomes claustrophobic


gives one of his most daring , and complicated , performances


equally engrossing


is of brian de palma 's addiction to the junk-calorie suspense tropes that have all but ruined his career .


be profane ,


intoxicating atmosphere and


gorgeous


the rare sequel that 's better than its predecessor


makes it possible for the viewer to doze off for a few minutes or make several runs to the concession stand and/or restroom and not feel as if he or she has missed anything


peter jackson and company once again dazzle and delight us , fulfilling practically every expectation either a longtime tolkien fan or a movie-going neophyte could want .


sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler .


of unrecoverable life


elvira fans


is surprisingly refreshing


leguizamo and jones are both excellent and the rest of the cast is uniformly superb .


that you enjoy more because you 're one of the lucky few who sought it out


utterly static picture


divine


a beautiful , timeless and universal tale of heated passions -- jealousy , betrayal , forgiveness and murder .


carmen ( vega ) and


payami tries to raise some serious issues about iran 's electoral process , but the result is a film that 's about as subtle as a party political broadcast


those of you who are not an eighth grade girl will most likely doze off during this one .


easy to swallow , but scarcely nourishing


any john waters movie has it beat by a country mile .


a uniquely sensual metaphorical dramatization


suffice to say its total promise is left slightly unfulfilled .


some remarkable achival film about how shanghai ( of all places )


an uncomfortable experience , but one as brave and challenging as you could possibly expect these days from american cinema .


, at times sublime , visuals


sordid of human behavior on the screen ,


can be forgiven for realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already .


overwrought


are clinically depressed


is clever , offbeat and even gritty enough to overcome my resistance .


disappointing


, realistic portrayal


city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .


must be said that he is an imaginative filmmaker who can see the forest for the trees .


clever


of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )


the sexual politics too smug


indignation


truly wonderful tale


christmas perennial


as if it has made its way into your very bloodstream


proves to be a compelling


a lot smarter than your average bond .


a good-hearted ensemble comedy


not-so-small problem


as action-adventure , this space-based homage to robert louis stevenson 's treasure island fires on all plasma conduits .


cinematic poetry


a beyond-lame satire


but enjoyable documentary .


a mostly believable , refreshingly low-key and quietly inspirational little sports


offers piercing domestic drama with spikes of sly humor .


bring out the cake


it 's about family


something hip


the cast delivers without sham the raw-nerved story .


like a bad soap opera


this thing works on no level whatsoever for me .


more successful


an impressive and highly entertaining celebration of its sounds


( the kid 's ) just too bratty for sympathy , and


a tiny sense of hope


's hard to quibble with a flick boasting this many genuine cackles


that is gorgeously


engrossing entertainment


unlike lots of hollywood fluff


fascinating -- and timely -- content


the leads ) are such a companionable couple


i enjoyed barbershop


insultingly unbelievable


though it 's not very well shot or composed or edited , the score is too insistent and the dialogue is frequently overwrought and crudely literal , the film shatters you in waves .


which imbue the theme with added depth and resonance


the reason to go see `` blue crush '' is the phenomenal , water-born cinematography by david hennings .


was daniel day-lewis .


for juicy roles


showing honest emotions


inspire even the most retiring heart to venture forth


clichéd


like high crimes flog the dead horse of surprise as if it were an obligation


benefits from serendipity


cringe


affected child acting to the dullest irish pub scenes ever filmed


his body


above pat inspirational status


nelson 's intentions are good , but


blah characters


has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing


closer than many movies


both heartbreaking and heartwarming


with acting ambition but no sense of pride or shame


why anyone in his right mind would even think to make the attraction a movie


seemingly disgusted with the lazy material and the finished product 's unshapely look


on the delicious pulpiness of its lurid fiction


the pitfalls


miserably


get weird ,


has a wooden delivery and encounters a substantial arc of change that does n't produce any real transformation .


the nightmare


art-house to the core , read my lips is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema .


target audience has n't graduated from junior high school


fresh to say about growing up catholic or , really , anything


a fascinating literary mystery story


as cleverly plotted as the usual suspects


this is dicaprio 's best performance in anything ever , and easily the most watchable film of the year .


still charming


a smart , compelling drama .


rethink their attitudes when they see the joy the characters take in this creed


goofiest


stretched out to feature length


their scenes brim with sexual possibility and emotional danger


who re-invents himself


delightfully against the grain


trite


kwan is a master of shadow , quietude , and room noise ,


be a power outage during your screening so you can get your money back


seagal ran out of movies years ago ,


it 's hard to imagine acting that could be any flatter .


disappointing in comparison to other recent war movies


is a technological exercise that lacks juice and delight


it stinks


the only thing scary about feardotcom


bright


any country


to be favorably compared to das boot


make you think about existential suffering


squanders its beautiful women


whether to admire the film 's stately nature and call it classicism or be exasperated by a noticeable lack of pace


mediocre special effects


sparse but oddly compelling .


, low-wattage


snaps under the strain of its plot contrivances and its need to reassure


too much exploitation and too little


a great writer


a bad name


the stomach-turning violence


american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone .


to probe questions of attraction and interdependence


playfully profound ...


a compelling , gut-clutching piece


of crudup 's anchoring performance


she 's cut open a vein


soulless jumble


research library dust


dismally


too stupid


too erotic nor


in its characterizations


eighth-grader


'd have a hard time believing it was just coincidence


that it ca n't really be called animation


even more predictable


uneven performances


negatives


ill at ease sharing the same scene


beautiful than either of those films


death


radiant character portrait


combine into one terrific story with lots of laughs


meyjes 's movie , like max rothman 's future , does not work .


to shine through the gloomy film noir veil


captures the unsettled tenor of that post 9-11 period far better than a more measured or polished production ever could


is a mess from start to finish .


with revulsion


cloying messages and irksome characters


are an immensely appealing couple


stylish tracking shots


the metaphors are provocative


of the best next generation episodes


a tired , talky feel


luscious


confidently orchestrated , aesthetically and sexually


funny and


light enough


of all ages


the dragons are the real stars of reign of fire and you wo n't be disappointed


to make us care about zelda 's ultimate fate


writing , skewed characters ,


devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity


the movie winds up feeling like a great missed opportunity .


it has become apparent that the franchise 's best years are long past .


of motherhood deferred and desire


this is one of mr. chabrol 's subtlest works , but also one of his most uncanny .


hate it for the same reason


, organic character work


too mushy -- and in a relatively short amount of time


offensive , puerile and


wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time .


intimate and universal cinema


the `` a '' range


` alice 's adventure through the looking glass and into zombie-land ' is filled with strange and wonderful creatures .


lacks the spirit of the previous two , and makes all those jokes about hos


godard uses his characters -- if that 's not too glorified a term -- as art things , mouthpieces , visual motifs , blanks .


takes a potentially trite and overused concept ( aliens come to earth ) and infuses it into a rustic , realistic , and altogether creepy tale of hidden invasion .


look ill at ease sharing the same scene


a loud , brash and mainly unfunny high school comedy .


most repugnant adaptation


terrific casting


into heaven


playful but highly studied and


she 's pretty and she can act --


sucks you in


watch these two together again in a new york minute


a cute alien creature who mimics everyone and everything around


a convincing impersonation


is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .


giggling


pointed , often tender , examination


low , very low ,


the people who loved the 1989 paradiso will prefer this new version


sullivan and his son


jewish parents


taste for `` shock humor '' will wear thin on all


the wake of saving private ryan


's rare to see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid '' .


be thinking about going to see this movie


a wonderful ensemble cast of characters that bring the routine day to day struggles of the working class to life


most resonant film since the killer .


gives give a solid , anguished performance that eclipses nearly everything else she 's ever done


it were , well , more adventurous


new best friend ''


pouty-lipped poof


gooding offers a desperately ingratiating performance .


director tom dey demonstrated a knack for mixing action and idiosyncratic humor in his charming 2000 debut shanghai noon ,


proves tiresome ,


skip this dreck , rent animal house and go back to the source .


otherwise dull subjects


eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel


a sentimental but entirely irresistible portrait of three


its one-sidedness ... flirts with propaganda


attempt to build up a pressure cooker of horrified awe


has some unnecessary parts


with the prospect of films like kangaroo jack about to burst across america 's winter movie screens it 's a pleasure to have a film like the hours as an alternative .


desperate for the evening to end


it 's rare to find a film to which the adjective ` gentle ' applies , but the word perfectly describes pauline & paulette .


those gimmicks


are infectious


there 's no conversion effort , much of the writing is genuinely witty and both stars are appealing enough to probably have a good shot at a hollywood career , if they want one


one of the best of a growing strain of daring films ...


`` the best disney movie


cat-and-mouse , three-dimensional characters and


that 's enough to sustain laughs


those responsible did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home


black-and-white


does not really


finely crafted , finely written ,


rock solid family fun


is n't heated


lovably


is prime escapist fare .


somewhat flawed ,


is enormously good fun


all of dean 's mannerisms and self-indulgence , but none of his sweetness and vulnerability


makes oliver far more interesting than the character 's lines would suggest


serves up all of that stuff


peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids


without resorting to camp or parody


in three words : thumbs friggin ' down


messing


this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


effects that are more silly than scary


an observant , unfussily poetic meditation


natural and


because of the ideal casting of the masterful british actor ian holm


despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .


strong piece


has none of the pushiness and decibel volume of most contemporary comedies


the most poorly staged and lit action in memory


's encouraging to see a three-dimensional , average , middle-aged woman 's experience of self-discovery handled with such sensitivity


sloppy slapstick


be the movie you 're looking for


satire and childhood awakening


a thinking man 's monster movie


given it a one-star rating


might turn on many people to opera , in general


is a tired one ,


has many of the things that made the first one charming .


it plays everything too safe


otherwise bleak tale


starts out like heathers , then becomes bring it on , then becomes unwatchable


of privileged moments and memorable performances


the story is predictable , the jokes are typical sandler fare , and the romance with ryder is puzzling .


verges on the amateurish


a dreadful day


quick-cut edits


stains


bogs down in rhetoric and cliché


moviegoing pleasures


interestingly


wit to keep parents away from the concession stand


a 60-second homage


the ultimate movie experience


completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .


a mix of the shining , the thing , and any naked teenagers horror flick


defies classification


shows all the signs of rich detail condensed into a few evocative images and striking character traits


engaging as it is revealing


worse


has the charisma of a young woman who knows how to hold the screen .


of a predictable outcome and a screenplay


feeble


a true-blue delight .


french shocker


can tell you that there 's no other reason why anyone should bother remembering it


hollywood disregard


journalistically dubious , inept


the result puts a human face on derrida , and makes one of the great minds of our times interesting and accessible to people who normally could n't care less .


their computer-animated faces are very expressive .


fertile


a stock plot


hallmark card sentimentality and


by turns numbingly dull-witted and disquietingly creepy .


be prepared to cling to the edge of your seat , tense with suspense .


its pretensions


a lovably


your interest , your imagination , your empathy


valiantly


most damning


might be distracted by the movie 's quick movements and sounds


it 's a bad sign in a thriller when you instantly know whodunit .


go , girls , right down the reality drain .


mind-bender .


anyone else who may , for whatever reason , be thinking about going to see this movie


that catches you up in something bigger than yourself


is virtually without context -- journalistic or historical .


a delightfully dour


glib but


very stupid and annoying


because of its heightened , well-shaped dramas


amélie 's audrey tautou with another fabuleux destin


the most edgy piece of disney animation


even if the ring has a familiar ring , it 's still unusually crafty and intelligent for hollywood horror .


jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery


comes across as stick figures reading lines from a teleprompter .


an oily arms dealer , squad car pile-ups and the requisite screaming captain


of dramatic enlightenment


to shout insults at the screen


of an underdone potato


pretentious .


predictable at every turn


only defies credibility


that 's simultaneously painful and refreshing


in a slap-happy mood


ably captures the complicated relationships in a marching band .


of one man 's quest to be president


establishes a wonderfully creepy mood


, it 's an adventure story and history lesson all in one .


what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .


is drowned out by director jon purdy 's sledgehammer sap


a deeper story


self-aware , often self-mocking ,


that he tosses a kitchen sink onto a story already overladen with plot conceits


sensitive ensemble performances


itself is small and shriveled


too loud , too goofy


largest-ever historical canvas


the movie is n't painfully bad , something to be ` fully experienced ' ; it 's just tediously bad , something to be fully forgotten .


their shallow styles


touches the heart


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


a dashing and resourceful hero ; a lisping , reptilian villain ; big fights


race splitting


its cast full of caffeinated comedy performances


preserves tosca 's intoxicating ardor through his use of the camera


is hard to care


the best sequel since the empire strikes back ... a majestic achievement , an epic of astonishing grandeur and surprising emotional depth


ultimate demise


no means a slam-dunk and


dumped a whole lot of plot in favor of ... outrageous gags


adds substantial depth to this shocking testament to anti-semitism and neo-fascism


stock up on silver bullets for director neil marshall 's intense freight train of a film . '


chilling in its objective portrait of dreary , lost twenty-first century america .


simpler , leaner


bland hotels , highways , parking lots


gives the lie to many clichés


a fascinating glimpse of urban life and the class warfare that embroils two young men


would be a welcome improvement


worldly knowledge


a little too ponderous to work as shallow entertainment , not remotely incisive enough to qualify as drama , monsoon wedding serves mostly to whet one 's appetite for the bollywood films .


hugely imaginative and successful


an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .


does n't wrap the proceedings up neatly


that skins comes as a welcome , if downbeat , missive from a forgotten front


enough to keep you interested without coming close to bowling you over .


rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone


has a delightfully dour , deadpan tone and stylistic consistency .


is long on narrative and ( too ) short on action


more problematic aspects


the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine


a masterpiece -- and a challenging one


meandering and pointless


way to tolerate this insipid , brutally clueless film


the real thing


marginal intelligence


it were any more of a turkey


that deftly , gradually reveals a real human soul buried beneath a spellbinding serpent 's smirk


in addition to scoring high for originality of plot


wrong with that


whose pieces do not fit


how families can offer either despair or consolation


so distasteful


often demented in a good way ,


a cesspool


it 's so not-at-all-good


are once again made all too clear in this schlocky horror/action hybrid


like its script , which nurses plot holes gaping enough to pilot an entire olympic swim team through , the characters in swimfan seem motivated by nothing short of dull , brain-deadening hangover .


the film ( at 80 minutes ) is actually quite entertaining .


has a well-deserved reputation as one of the cinema world 's great visual stylists


stale first act , scrooge story ,


wickedly funny , visually engrossing ,


inconsistent


does n't add anything fresh to the myth


the film 's lack of personality permeates all its aspects -- from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed .


's impossible to shake .


slow and dreary


it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are ` edgy .


it 's not particularly well made , but


mildly interesting


leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies


fuzziness


, it wears out its welcome as tryingly as the title character .


sometimes beautiful


that make it well worth watching


backbone


's both sitcomishly predictable and cloying in its attempts to be poignant .


was ever a movie where the upbeat ending feels like a copout


an unsophisticated sci-fi drama that takes itself all too seriously .


deal funnier


what 's hard to understand is why anybody picked it up .


to the gorgeous locales and exceptional lead performances


they succeed merrily at their noble endeavor .


its 112-minute length


a harrison ford low


the story is predictable , the jokes are typical sandler fare , and


next to little insight


after several scenes of this tacky nonsense , you 'll be wistful for the testosterone-charged wizardry of jerry bruckheimer productions , especially because half past dead is like the rock on a wal-mart budget .


arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .


most of its ilk


cute alien creature


deeply out of place in what could have


come with the warning ``


a splendid job of racial profiling hollywood style -- casting excellent latin actors of all ages --


in `` unfaithful


, dopey old


even the most jaded cinema audiences


bluto blutarsky , we miss you .


ailments


just might turn on many people to opera , in general


makes a wonderful subject for the camera .


sensational , real-life 19th-century crime


this is for the most part a useless movie , even with a great director at the helm .


find yourself rooting for the monsters in a horror movie


an admirable reconstruction of terrible events , and a fitting


ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up


like the rugrats movies , the wild thornberrys movie does n't offer much more than the series , but


found the movie as divided against itself


texan director george ratliff had unlimited access to families and church meetings ,


more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air


funny and well-contructed black comedy


a bad sign when you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over


the massive waves that lifts blue crush into one of the summer 's most pleasurable movies


has the stomach-knotting suspense of a legal thriller ,


incapable


's hard to shake the feeling that it was intended to be a different kind of film


toes the fine line between cheese and earnestness remarkably well ; everything is delivered with such conviction that it 's hard not to be carried away


results is the best performance from either in years


being more valuable in the way they help increase an average student 's self-esteem


degrades its characters , its stars and its audience .


wants to be a suspenseful horror movie or a weepy melodrama


less an examination of neo-nazism than a probe into the nature of faith itself .


bears a grievous but obscure complaint against fathers , and circles it obsessively , without making contact .


could pass for a thirteen-year-old 's book report on the totalitarian themes of 1984 and farenheit 451


a wonderfully warm human drama that remains vividly in memory long after viewing


would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture


very , very good reasons


funny , sweetly adventurous


he respects the material without sentimentalizing it


, if disingenuous ,


the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza


a grand fart coming from a director beginning to resemble someone 's crazy french grandfather .


a domestic melodrama with weak dialogue and biopic


so bad in a major movie


a flick about our infantilized culture that is n't entirely infantile


be hard put to find a movie character more unattractive or odorous ( than leon )


is exceedingly pleasant , designed not to offend


fact and fancy with such confidence


broomfield is energized by volletta wallace 's maternal fury , her fearlessness , and because of that , his film crackles .


more repetition than creativity throughout the movie


had to sit through it again


the powerpuff girls arrive on the big screen with their super-powers , their super-simple animation and their super-dooper-adorability intact .


a warmth that is n't faked


far from heaven is a dazzling conceptual feat ,


that burn themselves upon the viewer 's memory


a third-person story now , told by hollywood , and much more ordinary for it


emerges with yet another remarkable yet shockingly little-known perspective .


ca n't help but be drawn in by the sympathetic characters


well-worn situations


if routine action and jokes like this are your cup of tea , then pay your $ 8 and get ready for the big shear .


writer-director walter hill and co-writer david giler try to create characters out of the obvious cliches , but wind up using them as punching bags .


plotting


take place indoors in formal settings with motionless characters


refreshing visit


the multiple stories in a vibrant and intoxicating fashion


exit sign


... this story gets sillier , not scarier , as it goes along ...


provocative stuff


wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time


believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film


own staggeringly unoriginal terms


drawing wrenching performances


this leaden comedy


an amateurish , quasi-improvised acting exercise shot on ugly digital video .


chases for an hour and then


for the most part , it works beautifully as a movie without sacrificing the integrity of the opera .


over the years , hollywood has crafted a solid formula for successful animated movies , and ice age only improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor .


compelling historical tale


dripping with cliche


've got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane .


the front ranks of china 's now numerous , world-renowned filmmakers


an unorthodox little film noir organized crime story that includes one of the strangest


a remarkable movie with an unsatisfying ending , which is just the point


a dull , somnambulant exercise in pretension whose pervasive quiet is broken by frequent outbursts of violence and noise .


the pleasures that it does afford may be enough to keep many moviegoers occupied amidst some of the more serious-minded concerns of other year-end movies .


the director at his most sparkling


in an independent film of satiric fire and emotional turmoil


style and mystification


secret ballot is a comedy , both gentle and biting


open yourself up to mr. reggio 's theory of this imagery as the movie 's set


the large cast is solid


it might have held my attention , but


behind cutesy film references


once again , director chris columbus takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours .


both a successful adaptation and an enjoyable film in its own right .


a hokey piece of nonsense that tries too hard to be emotional .


are in perfect balance


last walked out on a movie