's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland


a distinctly minor effort


may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j.


a smart , sassy and exceptionally charming romantic comedy .


friends will be friends through thick and thin


fit the incredible storyline


at best , cletis tout might inspire a trip to the video store -- in search of a better movie experience .


if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .


which will take longer to heal : the welt on johnny knoxville 's stomach from a riot-control projectile or my own tortured psyche


a clash between the artificial structure of the story and the more contemporary , naturalistic tone of the film ...


ransacked every old world war ii movie for overly familiar material


single good film


wildly inventive mixture


the film is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil .


sweet , and intermittently hilarious


is suspenseful and ultimately unpredictable , with a sterling ensemble cast


has the potential for touched by an angel simplicity and sappiness


, even the funniest idea is n't funny .


, we are forced to reflect that its visual imagination is breathtaking


delicious crime drama


to steal a movie not only 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


broder 's screenplay is shallow , offensive and redundant , with pitifully few real laughs .


that it 's the butt of its own joke


goofiest stuff


compelling yarn


proves that it 's easier to change the sheets than to change hackneyed concepts when it comes to dreaming up romantic comedies


delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion


released in imax format


a waste of de niro , mcdormand and the other good actors in the cast


the imaginary sport it projects onto the screen -- loud , violent and mindless


except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes


clever enough to sustain a reasonable degree of suspense on its own


as darkly funny , energetic , and surprisingly gentle


with flashes of warmth and gentle humor


and insufferable ball


have all the suspense of a 20-car pileup , while the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up


build in the mind of the viewer and take on extreme urgency .


like its title character , esther kahn is unusual but unfortunately also irritating .


is about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it


's often handled in fast-edit , hopped-up fashion


does a fine job contrasting the sleekness of the film 's present with the playful paranoia of the film 's past


sinks so low in a poorly played game of absurd plot twists , idiotic court maneuvers and stupid characters that even freeman ca n't save it .


stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design


the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it


spooky and subtly


you 're not


e.t. remains the most wondrous of all hollywood fantasies -- and the apex of steven spielberg 's misunderstood career .


it from the bland songs to the colorful but flat drawings


has none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita ''


nothing but one relentlessly depressing situation after another for its entire running time ,


... its three-hour running time plays closer to two .


clever script


never succeed in really rattling the viewer


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


rough-around-the-edges , low-budget constraints


kept much of the plot but jettisoned the stuff that would make this a moving experience for people who have n't read the book


writer-director danny verete 's three tales comprise a powerful and reasonably fulfilling gestalt .


nobody in the viewing audience cares


two young women whose lives were as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned


, alone , should scare any sane person away .


wish there had been more of the `` queen '' and less of the `` damned


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


terrified of the book 's irreverent energy , and scotches most of its élan , humor , bile , and irony


kung pow seems like some futile concoction that was developed hastily after oedekerk and


a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue


manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity .


a big-budget/all-star movie as unblinkingly pure as the hours is a distinct rarity , and an event .


as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign .


the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence


to see this turd squashed under a truck , preferably a semi


who might otherwise go unnoticed and underappreciated by music fans


the narrator and the other characters try to convince us that acting transfigures esther , but


resembles a soft porn brian de palma pastiche .


foundering performance


in his chilling , unnerving film


always keeping the balance between the fantastic and the believable


simply radiates star-power potential in this remarkable and memorable film .


the magic ( and original running time ) of ace japanimator hayao miyazaki 's spirited away


arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone


coupling disgracefully written dialogue with flailing bodily movements


a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective


favors to sober us up with the transparent attempts at moralizing


curiously depressing


talk to her is not the perfect movie many have made it out to be , but it 's still quite worth seeing


with an unflappable air of decadent urbanity , everett remains a perfect wildean actor , and a relaxed firth displays impeccable comic skill .


no palpable chemistry between lopez and male lead ralph fiennes


real women have curves wears its empowerment on its sleeve but even its worst harangues are easy to swallow thanks to remarkable performances by ferrera and ontiveros


duvall 's throbbing sincerity


carries us effortlessly


, low-budget and tired


genuinely moving and


stale first act , scrooge story , blatant product placement ,


while insomnia is in many ways a conventional , even predictable remake , nolan 's penetrating undercurrent of cerebral and cinemantic flair lends ( it ) stimulating depth .


jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set .


the absolute last thing we need hollywood doing to us


to tear your eyes away from the images


introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter


an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids


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


are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort


affecting , amusing , sad and reflective


crammed with scenes and vistas and pretty moments


life affirming and heartbreaking , sweet without the decay factor ,


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


supremely kittenish


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


a puzzle whose pieces do not fit .


almost everyone growing up believes their family must look like `` the addams family '' to everyone looking in ... `` my big fat greek wedding '' comes from the heart


a strong and confident work


loosely speaking , we 're in all of me territory again , and , strictly speaking , schneider is no steve martin .


i was trying to decide what annoyed me most about god is great ... i 'm not , and then i realized that i just did n't care


a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document -- its makers are n't removed and inquisitive enough for that .


than its sunny disposition


of exploitative garbage


... about as exciting to watch as two last-place basketball teams playing one another on the final day of the season .


despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy .


a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old ,


is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction


the final day of the season


a little fleeing of its own


be like trying to eat brussels sprouts


to the chateau , a sense of light-heartedness , that makes it attractive throughout


this is a movie that is what it is : a pleasant distraction , a friday night diversion , an excuse to eat popcorn .


decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies


cold fish


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


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


that the film opens with maggots crawling on a dead dog


that would be me : fighting off the urge to doze .


shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors ...


older men drink to excess , piss on trees , b.s. one another and put on a show in drag


evokes the frustration , the awkwardness and the euphoria of growing up ,


have been conjured up only 10 minutes prior to filming


michael jordan referred to in the title , many can aspire but none can equal


's shot on digital video , whose tiny camera enables shafer to navigate spaces both large ... and small ... with considerable aplomb


evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits


its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference


it 's difficult to feel anything much while watching this movie , beyond mild disturbance or detached pleasure at the acting .


the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense


touch you to the core in a film you will never forget -- that you should never forget


carefully choreographed atrocities , which become strangely impersonal and abstract


magic and is enjoyable family fare


all the queen 's men is a throwback war movie that fails on so many levels , it should pay reparations to viewers .


the nicest thing that can be said about stealing harvard ( which might have been called freddy gets molested by a dog ) is that it 's not as obnoxious as tom green 's freddie got fingered .


from largely flat and uncreative moments


layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work


crossing-over mumbo jumbo , manipulative sentimentality , and


deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip


are far more alienating than involving


dog-paddle in the mediocre end of the pool


wry and engrossing


is a visually stunning rumination on love , memory , history and the war between art and commerce .


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 ?


troubled


in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality


a remarkable amount


supremely


, it can easily worm its way into your heart . '


despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that 's as fresh-faced as its young-guns cast .


delivers a powerful commentary on how governments lie


its storytelling prowess and


sheerly beautiful film


mere plot pawn


would likely be most effective if used as a tool to rally anti-catholic protestors .


frequent flurries of creative belly laughs and genuinely enthusiastic performances


well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances


too insistent


oo many of these gross


painfully forced ,


impossible to care about


a minor film with major pleasures from portuguese master manoel de oliviera ...


thriller remarkable only for its lack of logic and misuse of two fine actors , morgan freeman and ashley judd


of the week blown up for the big screen


the characters are based on stock clichés , and


at every opportunity to do something clever , the film goes right over the edge and kills every sense of believability ... all you have left


dragonfly ' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .


directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men


formula family tearjerker


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


sensual and funny


to treat its characters , weak and strong , as fallible human beings , not caricatures , and


take before indigestion sets in


despite the predictable parent vs. child coming-of-age theme , first-class , natural acting and a look at `` the real americans '' make this a charmer .


a genre gem


fantasy


of crucifixion


a moving experience for people who have n't read the book


creepy , intermittently powerful study


with spy kids 2 : the island of lost dreams , the spy kids franchise establishes itself as a durable part of the movie landscape : a james bond series for kids .


thanks to a small star with big heart , this family film sequel is plenty of fun for all .


filmmakers david weissman and bill weber benefit enormously from the cockettes ' camera craziness -- not only did they film performances , but


humor , warmth , and


want the story to go on and on


is a remarkably accessible and haunting film


's also cold , gray , antiseptic and emotionally desiccated .


in perfect balance


inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography


has far more energy


a level of young , black manhood that is funny , touching , smart and complicated


delivers the goods


this is one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt .


`` how will you feel after an 88-minute rip-off of the rock with action confined to slo-mo gun firing and random glass-shattering ? ''


so it 's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast


plant smile-button faces on that segment of the populace that made a walk to remember a niche hit


this is a story that zings all the way through with originality , humor and pathos .


generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters


is rote work and predictable ,


greasy little vidgame pit


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


smart , not cloying


a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .


a mean-spirited film made by someone who surely read the catcher in the rye but clearly suffers from dyslexia


could be this good


a powerful , chilling , and affecting study of one man


fessenden has nurtured his metaphors at the expense of his narrative ,


's so not-at-all-good


brilliant performances


most magical and most fun family fare


inert sci-fi action thriller


all-enveloping movie experience


a remarkable movie


spends 90 minutes trying figure out whether or not some cocky pseudo-intellectual kid has intentionally left college or was killed .


all the small moments and flashbacks do n't add up to much more than trite observations on the human condition .


comprise a powerful and reasonably fulfilling gestalt


that is so insanely stupid , so awful in so many ways that watching it leaves you giddy


capture the novel 's deeper intimate resonances


whose pervasive quiet


leaving you with some laughs and a smile on your face


best describes this film : honest


addictive


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


a revealing look


time-consuming


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


hilarious writer-director himself


i have always appreciated a smartly written motion picture , and , whatever flaws igby goes down may possess , it is undeniably that


invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once


local


, oddly colorful and just plain otherworldly


he has a great cast and a great idea .


you really want to understand what this story is really all about


halfway through this picture i was beginning to hate it , and ,


courtesy of john pogue , the yale grad who previously gave us `` the skulls ''


's something of the ultimate scorsese film


left with a story that tries to grab us , only to keep letting go at all the wrong moments


is shallow , offensive and redundant , with pitifully few real laughs


the score is too insistent


's not much more watchable than a mexican soap opera


wo n't join the pantheon of great monster/science fiction flicks that we have come to love


aimless for much of its running time , until late in the film when a tidal wave of plot arrives


just a bunch of good actors flailing around in a caper that 's neither original nor terribly funny


good actors , good poetry and


has its share of belly laughs ( including a knockout of a closing line )


a breath


... unlike ( scorsese 's mean streets ) , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .


have been lost in the translation


sleep-inducingly slow-paced crime drama


a heart and reality that buoy the film , and at times , elevate it to a superior crime movie


is the one thing that holds interest in the midst of a mushy , existential exploration of why men leave their families


looks as if it were made by a highly gifted 12-year-old instead of a grown man


seen ( a remake ) do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic


sweetly sexy , funny and touching .


after seeing the film , i can tell you that there 's no other reason why anyone should bother remembering it .


when all is said and done , she loves them to pieces -- and so , i trust , will you .


a heartbreakingly thoughtful minor classic , the work of a genuine and singular artist .


it 's coherent , well shot , and tartly acted , but it wears you down like a dinner guest showing off his doctorate .


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


and even touching


zero-dimensional , unlikable characters and hackneyed , threadbare comic setups


two fine actors , morgan freeman


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


a quirky comedy set in newfoundland that cleverly captures the dry wit that 's so prevalent on the rock .


huge , heavy topics in a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people


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


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


writer-director randall wallace has bitten off more than he or anyone else could chew , and


( p ) artnering murphy with robert de niro for the tv-cops comedy showtime would seem to be surefire casting .


the stunt work is top-notch ; the dialogue and drama often food-spittingly funny


a great saturday night live sketch


forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present


holofcener 's film offers just enough insight to keep it from being simpleminded , and


the shallow sensationalism characteristic


insufferably tedious and turgid


like a tarantino movie with heart , alias betty is richly detailed , deftly executed and utterly absorbing .


lacks the charisma and ability


beautifully detailed performances by all of the actors


i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale --


journalistically dubious , inept and often lethally dull .


of the amazing spider-man


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


's rarely as moronic as some campus gross-out films


absurdities and


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


memorable for a peculiar malaise that renders its tension flaccid and , by extension , its surprises limp and


family togetherness takes a back seat to inter-family rivalry and workplace ambition ... whole subplots have no explanation or even plot relevance .


the nicest thing that can be said about stealing harvard ( which might have been called freddy gets molested by a dog )


too sappy for its own good


that he 's now , more than ever , choosing his roles with the precision of the insurance actuary


annoying rather than charming


'' and `` terrible


moving , and adventurous


genres that just does n't work


suspend your disbelief here and now , or you 'll be shaking your head all the way to the credits .


captures moments of spontaneous creativity and authentic co-operative interaction


dullingly repetitive


barely tolerable


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


of the character dramas , which never reach satisfying conclusions


it has fun with the quirks of family life , but it also treats the subject with fondness and respect .


is a lot like a well-made pb & j sandwich : familiar , fairly uneventful and boasting no real surprises -- but still quite tasty and inviting all the same .


staggers between flaccid satire and what is supposed to be madcap farce .


a bittersweet film , simple in form but rich with human events


cheap , graceless , hackneyed


is the most visually unappealing


's a love story as sanguine as its title


fincher takes no apparent joy in making movies , and


... the movie , shot on digital videotape rather than film , is frequently indecipherable .


creative composure


its absurdity


actor raymond j. barry is perfectly creepy and believable .


predictable than their consequences


is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?


be captivated , as i was , by its moods , and by its subtly transformed star


rifkin no doubt fancies himself something of a hubert selby jr. , but there is n't an ounce of honest poetry in his entire script ; it 's simply crude and unrelentingly exploitative


drops the ball too many times


remove spider-man the movie from its red herring surroundings and


, energetic and smart


remarkable yet


is so insanely stupid , so awful in so many ways that watching it leaves you giddy


lurches between not-very-funny comedy


a meatier deeper beginning and/or ending would have easily tipped this film into the `` a '' range , as is , it 's a very very strong `` b + . ''


is not even half the interest


coming , as before , from the incongruous but chemically perfect teaming of crystal and de niro


that the talented cast generally


, norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced ,


the dreary expanse of dead-end distaste


are tops , with the two leads delivering oscar-caliber performances


presents nothing special and , until the final act , nothing


i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger ) .


is one adapted - from-television movie that actually looks as if it belongs on the big screen


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


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


deep deceptions


, prepackaged julia roberts wannabe


that plays like a 95-minute commercial for nba properties


an engrossing portrait


much colorful eye candy , including the spectacle of gere in his dancing shoes , hoofing and crooning with the best of them


follows into melodrama and silliness


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


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


manages the rare trick of seeming at once both refreshingly different and reassuringly familiar


gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection


girlish tear ducts does n't mean it 's good enough for our girls


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


of the best looking and stylish


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


cletis is playful but highly studied and dependent for its success on a patient viewer .


uncool the only thing missing is the `` gadzooks !


slack and uninspired , and peopled mainly by characters so unsympathetic that you 're left with a sour taste in your mouth


fairly enjoyable


playfully profound ... and crazier than michael jackson on the top floor of a skyscraper nursery surrounded by open windows .


carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the `` other side of the story . ''


much like robin williams , death to smoochy has already reached its expiration date .


as i settled into my world war ii memories , i found myself strangely moved by even the corniest and most hackneyed contrivances .


the fact that it is n't very good is almost beside the point .


give a spark to `` chasing amy '' and `` changing lanes '' falls flat as thinking man cia agent jack ryan in this summer 's new action film


releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults , and snow dogs deserves every single one of them .


presents visceral and dangerously honest revelations about the men and machines behind the curtains of our planet


bind us


wildly overproduced , inadequately motivated every step


a raunchy and frequently hilarious follow-up to the gifted korean american stand-up


scherfig 's light-hearted profile of emotional desperation is achingly honest and delightfully cheeky .


inimitable scenes


this odd , distant portuguese import more or less borrows from bad lieutenant and les vampires , and comes up with a kind of art-house gay porn film .


weird


liked it much more if harry & tonto never existed


it was n't the subject matter that ultimately defeated the film ... it was the unfulfilling , incongruous , `` wait a second


a movie of technical skill and rare depth of intellect and feeling .


do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages


staggered from the theater and blacked out in the lobby


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


third time 's the charm ... yeah , baby !


the immersive powers of the giant screen and its hyper-realistic images


has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references


discordant


give the film a soul and an unabashed sense of good old-fashioned escapism


downfall


`` unfilmable '' novels


the salton sea works the way a good noir should


`` mr. deeds '' is suitable summer entertainment that offers escapism without requiring a great deal of thought .


the plot of the comeback curlers is n't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what 's unique and quirky about canadians .


emphasizes the well-wrought story and


his impressions of life and loss and


premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper


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


started with a great premise and then just fell apart


, miller , kuras and the actresses make personal velocity into an intricate , intimate and intelligent journey .


the slapstick is labored , and the bigger setpieces flat


` possession , ' based on the book by a.s. byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit


the percussion rhythm , the brass soul and the sense of fierce competition that helps make great marching bands half the fun of college football games


an unwieldy cast


horrendously amateurish filmmaking that is plainly dull and visually ugly when it is n't incomprehensible .


those who are only mildly curious , i fear , will be put to sleep or bewildered by the artsy and often pointless visuals .


assembles a fascinating profile of a deeply humanistic artist who , in spite of all that he 's witnessed , remains surprisingly idealistic , and


mostly leaves him shooting blanks


a dull , somnambulant exercise in pretension whose pervasive quiet


all awkward , static ,


a hit - and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .


into the passive-aggressive psychology of co-dependence and the struggle for self-esteem


to pull together easily accessible stories that resonate with profundity


the film delivers what it promises : a look at the `` wild ride '' that ensues when brash young men set out to conquer the online world with laptops , cell phones and sketchy business plans .


an intelligent weepy


the screenplay , co-written by director imogen kimmel , lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .


a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni


friendship , love , and the truth


i loved on first sight and , even more important , love in remembrance .


the script by david koepp is perfectly serviceable and because he gives the story some soul ...


insufferable ball


is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance


that writer and director burr steers knows the territory


a captivatingly quirky hybrid of character portrait , romantic comedy and beat-the-clock thriller .


horrifyingly


it all unfolds predictably , and the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense .


stylish cinematography


most of the dialogue made me want to pack raw dough in my ears .


feels stitched together from stock situations and characters from other movies


a retread story , bad writing , and the same old silliness


too long and bogs down in a surfeit of characters and unnecessary subplots


` matrix ' - style massacres erupt throughout ... but the movie has a tougher time balancing its violence with kafka-inspired philosophy


that 's apparently just what ( aniston ) has always needed to grow into a movie career


return to a sane regimen of eating , sleeping and stress-reducing contemplation


wish it would have just gone more over-the-top instead of trying to have it both ways


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


cultural identity


recognizable and true


leave you wanting more , not to mention leaving you with some laughs and a smile on your face


, it 's a very entertaining , thought-provoking film with a simple message


that it churns up not one but two flagrantly fake thunderstorms to underscore the action


new , or inventive , journey


to good actors


upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming


`` horrible '' and `` terrible


take this film at face value and enjoy its slightly humorous and tender story


is paced at a speed that is slow to those of us in middle age and deathly slow to any teen .


lacks the charisma and ability to carry the film on his admittedly broad shoulders .


, the world 's political situation seems little different , and ( director phillip ) noyce brings out the allegory with remarkable skill .


the story and the actors are served with a hack script .


suffers from a philosophical emptiness and maddeningly sedate pacing


with no unified whole


it manages to squeeze by on angelina jolie 's surprising flair for self-deprecating comedy .


the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans


, in the history of the academy , people may be wondering what all that jazz was about `` chicago '' in 2002 .


was so endlessly , grotesquely , inventive


fondly remembered as roman coppola 's brief pretentious period before going on to other films that actually tell a story worth caring about


a brilliant , absurd collection of vignettes that , in their own idiosyncratic way , sum up the strange horror of life in the new millennium


but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity


justifying the hype that surrounded its debut at the sundance film festival


avoiding eye contact and walking slowly away


lawrence desperately looks elsewhere , seizing on george 's haplessness and lucy 's personality tics .


energetic and sweetly


is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .


like it hot on the hardwood proves once again that a man in drag is not in and of himself funny .


the slapstick is labored


best of all is garcia , who perfectly portrays the desperation of a very insecure man .


, never again is a welcome and heartwarming addition to the romantic comedy genre .


of how sandler is losing his touch


call the ` wow ' factor


talented writer/director anderson


haynes makes us see familiar issues , like racism and homophobia , in a fresh way .


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


as it is spooky and subtly in love with myth


the art direction and costumes are gorgeous and finely detailed , and


shrill and soporific , and because


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


skip this turd and pick your nose instead because you 're sure to get more out of the latter experience


wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick


intellect and feeling


long workout


a good cast


the master of disguise falls under the category of ` should have been a sketch on saturday night live . '


warm , inviting ,


wasted in this crass , low-wattage endeavor


bad run


does the absolute last thing we need hollywood doing to us


but it has an ambition to say something about its subjects , but not a willingness .


vastly improved


wrecks any chance of the movie rising above similar fare


with very little to add beyond the dark visions already relayed by superb recent predecessors like swimming with sharks and the player , this latest skewering


a testament to de niro and director michael caton-jones


construct based on theory , sleight-of-hand , and ill-wrought hypothesis


a huge disappointment coming ,


feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story


ice age is consistently amusing and engrossing ...


haneke 's script ( from elfriede jelinek 's novel ) is contrived , unmotivated , and psychologically unpersuasive , with an inconclusive ending .


wickedly funny and


trenchant satirical jabs


created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history


a leap from pinnacle to pinnacle


the leads are natural and lovely


tediously exasperating


, lifeless


cloying messages


wears its empowerment on its sleeve


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


of bright young men -- promising , talented , charismatic and tragically


sure where self-promotion ends and the truth begins


moonlight mile does n't quite go the distance but the cast is impressive and they all give life to these broken characters who are trying to make their way through this tragedy


another run-of-the-mill disney sequel intended for the home video market


permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations


stealing harvard is too busy getting in its own way to be anything but frustrating , boring , and forgettable


a painfully slow cliche-ridden film filled with more holes than clyde barrow 's car .


which will please eastwood 's loyal fans -- and suits the story , wherein our hero must ride roughshod over incompetent cops to get his man


refreshed and hopeful


makes the silly original cartoon seem smart and well-crafted in comparison .


well-formed satire


executed with such gentle but insistent sincerity , with such good humor and appreciation of the daily grind that only the most hardhearted scrooge could fail to respond


all movie long , 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 .


fessenden continues to do interesting work , and it would be nice to see what he could make with a decent budget


... a solid , well-formed satire .


to think about the ways we consume pop culture


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


witty , vibrant , and intelligent


wretched


genuinely worthwhile


's a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title


carved their own comfortable niche in the world


an improvement on the first blade


is often preachy


apart is the vision that taymor , the avant garde director of broadway 's the lion king and the film titus , brings .


viewers will wish there had been more of the `` queen '' and less of the `` damned . ''


observations on the human condition


lee does so marvelously compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america ... sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight


has none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal '' ,


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


if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash .


, amusing and unsettling


a brilliant college student -- where 's pauly shore as the rocket scientist ?


that only ever walked the delicate tightrope between farcical and loathsome


think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch


be this good


long


times uncommonly moving


this flick is fun , and host to some truly excellent sequences .


well-directed and


earnest , unsubtle and hollywood-predictable


straightforward and strikingly devious


a touching , small-scale story of family responsibility and care


its boundary-hopping formal innovations and glimpse


a rich tale of our times


also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives


is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film .


a tough pill to swallow and


know how to please the eye


fashioned an absorbing look


like smoke signals , the film is also imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama


remarkable and memorable


, the film settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion .


an act of spiritual faith -- an eloquent , deeply felt meditation on the nature of compassion


hits and generally sustains a higher plateau with bullock 's memorable first interrogation of gosling


its elegantly colorful look


leave you wanting more


the actors ' perfect comic timing and sweet , genuine chemistry


the rich performances by friel


much like its easily dismissive take on the upscale lifestyle , there is n't much there here .


was vile enough .


to be genuinely satisfying


its visual panache and compelling supporting characters


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


is to ponder how a whole segment of pop-music history has been allowed to get wet , fuzzy and sticky


passionate , if somewhat flawed , treatment


covers this territory with wit and originality ,


, however , having sucked dry the undead action flick formula , blade ii mutates into a gross-out monster movie with effects that are more silly than scary .


strong


the sum of all fears is remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots ( or cinema seats ) .


watch huppert scheming , with her small , intelligent eyes as steady as any noir villain


is strange and compelling


the distance


his storytelling skills have eroded


that should have been the ultimate imax trip


an incredibly narrow in-joke targeted to the tiniest segment of an already obscure demographic .


lead a group of talented friends astray


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


on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly


stars schticky chris rock and stolid anthony hopkins , who seem barely in the same movie .


although some viewers will not be able to stomach so much tongue-in-cheek weirdness


layered , well-developed characters and some surprises


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


the tuxedo was n't just bad ;


due to its rapid-fire delivery and enough inspired levity


best and


it 's hard to imagine anybody ever being `` in the mood '' to view a movie as harrowing and painful as the grey zone , but


waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it .


's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke


like trying to eat brussels sprouts


, old-fashioned-movie movie


imagine anybody being able to tear their eyes away from the screen


that chin 's film serves up with style and empathy


a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others .


gamely as the movie tries to make sense of its title character , there remains a huge gap between the film 's creepy


quirky , charming and often hilarious


goes bump in the night and nobody cares


hugely enjoyable in its own right though


's also nice to see a movie with its heart so thoroughly , unabashedly on its sleeve


grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration


writer-director ritchie reduces wertmuller 's social mores and politics to tiresome jargon .


miller , kuras and the actresses


finds its humor in a black man getting humiliated by a pack of dogs who are smarter than him


find that the road to perdition leads to a satisfying destination


a plot as musty as one of the golden eagle 's carpets


imagine o. henry 's the gift of the magi relocated to the scuzzy underbelly of nyc 's drug scene .


love this


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


jacobi , the most fluent of actors , is given relatively dry material from nijinsky 's writings to perform ,


a clumsily manufactured exploitation flick


a rock-solid gangster movie with a fair amount


's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom


love , racial tension , and other issues that are as valid today


gets its greatest play from the timeless spectacle of people


loaded with actors you 're most likely to find on the next inevitable incarnation of the love boat


made fresh by an intelligent screenplay and gripping performances


robert harmon 's less-is-more approach delivers real bump-in - the-night chills --


shows excess in business and pleasure , allowing us to find the small , human moments , and leaving off with a grand whimper .


, the answer is clear : not easily and , in the end , not well enough .


breathtakingly assured and stylish


do we have that same option to slap her creators because they 're clueless and inept ?


candy and cheeky wit to keep parents away from the concession stand


diane lane 's sophisticated performance ca n't rescue adrian lyne 's unfaithful from its sleazy moralizing .


overrides what little we learn along the way about vicarious redemption .


of surprises


buried somewhere inside its fabric , but never clearly seen or felt


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


, my sweet has so many flaws it would be easy for critics to shred it .


an imaginative filmmaker who can see the forest for the trees


loud and offensive , but more often


love and humility


teen-speak and animal gibberish


gorgeous to look at but insufferably tedious and turgid


the film feels uncomfortably real , its language and locations bearing the unmistakable stamp of authority .


perfectly executed and wonderfully sympathetic


by its predictable plot and paper-thin supporting characters


been bland


love , longing , and


repetitive and designed to fill time , providing no real sense of suspense


fast , funny , and even touching story


very much a home video , and so devoid of artifice and purpose that it appears not to have been edited at all .


the film starts promisingly , but the ending is all too predictable and far too cliched to really work


determination and the human spirit


like the imaginary sport it projects onto the screen -- loud , violent and mindless .


wasted .


genial and


of the rich and sudden wisdom , the film


all the sensuality , all the eroticism of a good vampire tale has been , pardon the pun , sucked out and replaced by goth goofiness .


a cheat in the end


has a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .


mostly plays it straight , turning leys ' fable into a listless climb down the social ladder .


too conventional -- lots of boring talking heads , etc. -- to do the subject matter justice


is offensive , puerile and unimaginatively foul-mouthed if it was at least funny


one good one


of heart and unsettling subject matter


a remarkable and novel


breaks no new ground and treads old turf like a hippopotamus ballerina


goldbacher


chelsea walls is a case of too many chefs fussing over too weak a recipe .


delivers on the promise of excitement


direct-to-video stuff


formulaic , its plot and pacing typical hollywood war-movie stuff , while the performances elicit more of a sense of deja vu than awe


but the nerve-raked acting , the crackle of lines , the impressive stagings of hardware , make for some robust and scary entertainment .


ryan gosling is , in a word , brilliant as the conflicted daniel .


, sweet , and intermittently hilarious


a stark portrait of motherhood deferred and desire


you get the impression that writer and director burr steers knows the territory ...


amazingly evocative film


blazingly alive and admirable on many levels


a sane regimen of eating , sleeping and stress-reducing contemplation


a treatise on spirituality


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


difficult to fathom


wiseman is patient and uncompromising , letting his camera observe and record the lives of women torn apart by a legacy of abuse .


in theory , a middle-aged romance pairing clayburgh and tambor sounds promising , but in practice it 's something else altogether -- clownish and offensive and nothing at all like real life .


tells a fascinating , compelling story .


perfectly executed and wonderfully sympathetic characters , who are alternately touching and funny


vividly detailed story about newcomers in a strange new world


sharp comedy , old-fashioned monster movie atmospherics , and


be great to see this turd squashed under a truck , preferably a semi


weighs down the tale with bogus profundities


plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .


light the candles , bring out the cake and do n't fret about the calories because there 's precious little substance in birthday girl --


taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


all about anakin ... and the lustrous polished visuals rich in color and creativity and , of course , special effect


amateurish screenplay


be mesmerised


, humorous , illuminating study


most likely to find on the next inevitable incarnation of the love boat


` dragonfly ' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .


deeply biased


max pokes , provokes , takes expressionistic license and hits a nerve ...


delivered a solidly entertaining and moving family drama


none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even


that transcends culture and race


clever and suspenseful


wilson and murphy show how funny they could have been in a more ambitious movie


fontaine masterfully creates a portrait of two strong men in conflict , inextricably entwined through family history , each seeing himself in the other , neither liking what he sees .


for all its brooding quality , ash wednesday is suspenseful and ultimately unpredictable , with a sterling ensemble cast .


shatner is probably the funniest person in the film , which gives you an idea just how bad it was .


celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '


is its energy


is moody , oozing , chilling and heart-warming all at once ... a twisting , unpredictable , cat-and-mouse thriller .


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


few good ideas


gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .


as a low-budget series on a uhf channel


assume he had a bad run in the market or a costly divorce , because there is no earthly reason other than money why this distinguished actor would stoop so low


all , an interesting look at the life of the campaign-trail press , especially ones that do n't really care for the candidate


catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera


a peculiar misfire that even tunney ca n't save .


it does n't offer any insights that have n't been thoroughly debated in the media already , back in the dahmer heyday of the mid - '90s


love the film


the forced new jersey lowbrow accent uma


are credited with the cliché-laden screenplay


's plenty to offend everyone ...


the ya-ya 's have many secrets and one is - the books are better


those young whippersnappers making moving pictures today


astonishingly skillful and moving


well written and directed with brutal honesty and respect for its audience .


is a subzero version of monsters , inc. , without the latter 's imagination , visual charm or texture .


looked like crap ,


into the life of wladyslaw szpilman , who is not only a pianist , but a good human being


amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise


crafted an intriguing story of maternal instincts and misguided acts of affection


the story simply putters along looking for astute observations and coming up blank .


a wise and powerful tale


who sadly are at hostile odds with one another through recklessness and retaliation


her life is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance


bad film you thought was going to be really awful


has made a movie that will leave you wondering about the characters ' lives after the clever credits roll .


more than adequately fills the eyes and


of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree


... the good and different idea ( of middle-aged romance ) is not handled well and , except for the fine star performances , there is little else to recommend `` never again . ''


to give the film a soul and an unabashed sense of good old-fashioned escapism


, energetic and sweetly whimsical


poorly paced you could fit all of pootie tang in between its punchlines


often-funny comedy


to make the film relevant today , without fully understanding what it was that made the story relevant in the first place


, he showcases davies as a young woman of great charm , generosity and diplomacy


meandering , low on energy , and too eager


is very difficult to care about the character


mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device


bracingly nasty


, crush goes to absurd lengths to duck the very issues it raises .


of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids


uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels


from the choppy editing to the annoying score to ` special effects ' by way of replacing objects in a character 's hands below the camera line


inhale this gutter romancer 's secondhand material


exhilarating but blatantly biased .


so preachy-keen and so tub-thumpingly loud it makes you feel like a chump


no good answer


most horrific


a sub-formulaic slap in the face to seasonal cheer .


handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly


leftovers


the movie around them is so often nearly nothing that their charm does n't do a load of good


too long , and larded with exposition , this somber cop drama ultimately feels as flat as the scruffy sands of its titular community .


a creepy , intermittently powerful study


disguising this as one of the worst films of the summer


when the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails


ultimately you 'll leave the theater wondering why these people mattered


an inexplicable nightmare , right down to the population


builds to an intense indoor drama about compassion , sacrifice , and christian love in the face of political corruption


funny , charming and quirky


star to play second fiddle to the dull effects that allow the suit to come to life


one of those movies that make us pause and think of what we have given up to acquire the fast-paced contemporary society .


to alienate the mainstream audience while ringing cliched to hardened indie-heads


third time 's the charm ...


right-wing , propriety-obsessed family


littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed


the histrionic muse still eludes madonna and , playing a charmless witch , she is merely a charmless witch .


entertaining and suggestive


some of the more overtly silly dialogue would sink laurence olivier


'm going to recommend secretary , based on the wonderful acting clinic put on by spader and gyllenhaal


a sense of good intentions derailed by a failure to seek and strike just the right tone


offbeat humor , amusing characters , and a happy ending


accompanying the stunt-hungry dimwits


a well-written and occasionally challenging social drama


warmth and gentle


death and mind-numbing indifference on the inner-city streets


extraordinarily rich


despite all the closed-door hanky-panky , the film is essentially juiceless .


beautifully shot ,


who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny


the potential success inherent in the mixture of bullock bubble and hugh goo


( it 's ) what punk rock music used to be ,


this prickly indie comedy of manners and misanthropy


a dark , gritty , sometimes funny little gem


boll uses a lot of quick cutting and blurry step-printing to goose things up , but dopey dialogue and sometimes inadequate performances kill the effect


childish


rip-off


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


disturb


boring man


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


a sexy , surprising romance ... idemoto and kim make a gorgeous pair ... their scenes brim with sexual possibility and emotional danger


once ice-t sticks his mug in the window of the couple 's bmw and begins haranguing the wife in bad stage dialogue , all credibility flies out the window .


between dumb fun and just plain dumb


informative , intriguing , observant , often touching ...


can easily worm its way into your heart . '


takes you by the face , strokes your cheeks and


, it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


was immensely enjoyable thanks to great performances by both steve buscemi and rosario dawson


well-wrought story


respect


very good time


wonderfully sprawling


rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations


if you recognize zeus ( the dog from snatch ) it will make you wish you were at home watching that movie instead of in the theater watching this one .


is neither amusing nor dramatic enough to sustain interest


ultimately the , yes , snail-like pacing and lack of thematic resonance make the film more silly than scary , like some sort of martha stewart decorating program run amok .


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


quite good at providing some good old fashioned spooks


, so it 's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast .


scoring


an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character


gentle but insistent sincerity


of good stuff


the best and most mature comedy of the 2002 summer season speaks more of the season than the picture


sexy , funny and touching


advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching


swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm


if the film has a problem , its shortness disappoints : you want the story to go on and on


the filmmakers are playing to the big boys in new york and l.a. to that end , they mock the kind of folks they do n't understand , ones they figure the power-lunchers do n't care to understand , either .


looking for a smart , nuanced look at de sade and what might have happened at picpus


ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative


warm and fuzzy


use in the breathtakingly beautiful outer-space documentary space station 3d


what really sets the film apart is debrauwer 's refusal to push the easy emotional buttons


a baffling subplot involving smuggling drugs inside danish cows falls flat , and


the full ticket price to see `` simone , '' and consider a dvd rental instead


meandering , and sometimes dry


the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez


dead


harvard man is something rare and riveting : a wild ride that relies on more than special effects .


it evaporates like so much crypt mist in the brain


is richly detailed , deftly executed and utterly absorbing


is almost nothing in this flat effort that will amuse or entertain them ,


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


thoroughly engrossing


in addition to gluing you to the edge of your seat


still fun and enjoyable and


that its dying , in this shower of black-and-white psychedelia , is quite beautiful


sweet , funny , charming


that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off


more dutiful than enchanting ... terribly episodic and lacking the spark of imagination that might have made it an exhilarating


is often preachy and poorly acted


living hell


our best achievements and


love a disney pic


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


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


can gasp , shudder and even tremble without losing his machismo


a breathtaking adventure for all ages , spirit


'll just have your head in your hands wondering why lee 's character did n't just go to a bank manager and save everyone the misery


of lo mein and general tso 's chicken barely give a thought to the folks who prepare and deliver it


whatever the movie 's sentimental , hypocritical lessons about sexism


gets very ugly , very fast


all in all , brown sugar is a satisfying well-made romantic comedy that 's both charming and well acted .


it transcends the normal divisions between fiction and nonfiction film


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


, elusive , yet inexplicably


achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars


be the worst film a man has made about women since valley of the dolls


would stoop so low


a waterlogged version of ` fatal attraction ' for the teeny-bopper set ...


seems to want both , but succeeds in making neither


the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and


is lost , leaving the character of critical jim two-dimensional and pointless


although the film boils down to a lightweight story about matchmaking , the characters make italian for beginners worth the journey


whiny , pathetic , starving and untalented


makes the banger sisters a fascinating character study with laughs to spare


's not a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination


lets her love depraved leads meet , ( denis ' ) story becomes a hopeless , unsatisfying muddle


a frightening and compelling ` what if


a screenplay to die for


nohe has made a decent ` intro ' documentary , but he feels like a spectator and not a participant


to be a collection taken for the comedian at the end of the show


in diminishing his stature from oscar-winning master to lowly studio hack


it is spooky and subtly in love with myth


that should be relegated to a dark video store corner


is the performance of gedeck , who makes martha enormously endearing


the director , with his fake backdrops and stately pacing ,


well-intentioned , but shamelessly manipulative movie


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


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


the `` soon-to-be-forgettable '' section


... portrays young brendan with his usual intelligence and subtlety , not to mention a convincing brogue .


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


have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


thurman and lewis give what can easily be considered career-best performances


told and retold


is a rambling examination of american gun culture that uses his usual modus operandi of crucifixion through juxtaposition


finds one of our most conservative and hidebound movie-making traditions and gives it new texture , new relevance , new reality .


an inuit masterpiece that will give you goosebumps as its uncanny tale of love , communal discord , and justice unfolds .


's simultaneously painful and refreshing


sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .


barely manages for but a few seconds over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference .


production values & christian bale 's charisma make up for a derivative plot


ode to unconditional love and compassion garnered from years of seeing it all , a condition only the old are privy to , and ... often misconstrued as weakness


to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters


it is supremely unfunny and unentertaining to watch middle-age and


bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness


be quirky and funny


clever credits roll


a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside


gondry 's direction is adequate ... but what gives human nature its unique feel is kaufman 's script


the forced funniness found in the dullest kiddie flicks


made allen 's romantic comedies so pertinent and enduring


woefully hackneyed


a word of advice to the makers of the singles ward : celebrity cameos do not automatically equal laughs .


, spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .


in addition to the overcooked , ham-fisted direction , which has all the actors reaching for the back row , the dialogue sounds like horrible poetry .


its absurdities and crudities


it 's pretty linear and only makeup-deep , but bogdanovich ties it together with efficiency and an affection for the period


heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign


for those for whom the name woody allen was once a guarantee of something fresh , sometimes funny , and usually genuinely worthwhile , hollywood ending is a depressing experience


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


beautifully to filming the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up fish lovers


smartly played and smartly directed .


is to be viewed and treasured for its extraordinary intelligence and originality as well as its lyrical variations on the game of love


improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end


with only weak claims to surrealism and black comedy


... a scummy ripoff of david cronenberg 's brilliant ` videodrome . '


reek of a script rewrite designed to garner the film a `` cooler '' pg-13 rating


an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you


a terrific performance in this fascinating portrait of a modern lothario


refreshing


also intriguing and honorable ,


see an artist , still committed to growth in his ninth decade , change while remaining true to his principles


a chance to see three splendid actors turn a larky chase movie into an emotionally satisfying exploration of the very human need to be somebody , and to belong to somebody .


( caine ) proves once again he has n't lost his touch , bringing off a superb performance in an admittedly middling film .


what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .


one could rent the original and get the same love story and parable .


, the film gets added disdain for the fact that it is nearly impossible to look at or understand .


enhances the excellent performances


waste viewers ' time


, builds to a crescendo that encompasses many more paths than we started with


has a customarily jovial air but a deficit of flim-flam inventiveness .


wasted


sweet , funny ,


strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short


a memorable experience that , like many of his works , presents weighty issues colorfully wrapped up in his own idiosyncratic strain of kitschy goodwill .


murphy and wilson actually make a pretty good team ... but the project surrounding them is distressingly rote .


as satisfyingly odd and intriguing a tale as it was a century and a half ago ... has a delightfully dour , deadpan tone and stylistic consistency .


the paradiso 's rusted-out ruin and ultimate collapse during the film 's final ( restored ) third ... emotionally belittle a cinema classic .


maelstrom is strange and compelling , engrossing and different ,


as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film 's creepy


you 're likely wondering why you 've been watching all this strutting and posturing .


dumb , narratively chaotic , visually sloppy ...


has all the enjoyable randomness of a very lively dream


the script , the gags , the characters are all direct-to-video stuff , and that 's where this film should have remained


allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being


beautiful , timeless and universal tale


, featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted .


be on video


what 's most offensive is n't the waste of a good cast , but


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


is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables


emerges with yet another remarkable yet shockingly little-known perspective


, first-class , natural acting and a look at `` the real americans '' make this a charmer .


gentle and engrossing


were a person


derivative elements into something that is often quite rich and exciting , and always a beauty to behold


a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female


to the power of the eccentric and the strange


meandering , low on energy


ignore the film


genuine


is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24/7


's sweet , funny , charming , and completely delightful


the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title


's a rather listless amble down the middle of the road , where the thematic ironies are too obvious and the sexual politics too smug


leave the theater with a lower i.q. than when i had entered


an inconsistent , meandering , and sometimes dry plot


deliberately and skillfully uses ambiguity to suggest possibilities which imbue the theme with added depth and resonance .


may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence .


about their lives , loves and the art


mimics everyone and everything


first-class , natural acting and a look at `` the real americans '' make this a charmer .


designed to make you feel guilty about ignoring what the filmmakers clearly believe


the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string .


the title , alone , should scare any sane person away .


a gently funny , sweetly adventurous film that makes you feel genuinely good , that is to say ,


than the screenplay , which lags badly in the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run


apart from reporting on the number of tumbleweeds blowing through the empty theaters


yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to produce another smash hit .


for its story of actorly existential despair than for its boundary-hopping formal innovations and glimpse into another kind of chinese


coarse , cliched and clunky


it did n't


a gorgeously strange movie , heaven is deeply concerned with morality ,


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


, insightfully human


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


awkward version


a good time


shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .


feels aimless for much of its running time , until late in the film when a tidal wave of plot arrives , leaving questions in its wake .


the skills of a calculus major at m.i.t. are required to balance all the formulaic equations in the long-winded heist comedy who is cletis tout ?


best films


was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one )


sillier , cuter ,


well spent


ca n't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out


sort the bad guys from the good , which is its essential problem


its own thinness


with an unflappable '50s dignity somewhere between jane wyman and june cleaver


heroes the way julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism


a very very strong `` b +


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


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


deals with its subject matter in a tasteful , intelligent manner , rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer


an example of quiet , confident craftsmanship that tells a sweet , charming tale of intergalactic friendship


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


upfront that the plot makes no sense


, superficiality and silliness


staggered from the theater


there 's something fishy about a seasonal holiday kids ' movie ... that derives its moment of most convincing emotional gravity from a scene where santa gives gifts to grownups .


of good-natured fun found in films like tremors


from an eccentric and good-naturedly aimless story


, but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera


to be both hugely entertaining and uplifting .


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


provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world


plain crap


combined with so much first-rate talent ... could have yielded such a flat , plodding picture


one of the best-sustained ideas i have ever seen on the screen


cheapened the artistry of making a film


makes for one of the most purely enjoyable and satisfying evenings at the movies i 've had in a while .


that 's critic-proof , simply because it aims so low


the ` true story ' by which all the queen 's men is allegedly `` inspired '' was a lot funnier and more deftly enacted than what 's been cobbled together onscreen


very strong


with or without ballast tanks , k-19 sinks to a harrison ford low .


it is a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably


a thought-provoking and often-funny drama


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


was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way


beautifully crafted and cooly unsettling ... recreates the atmosphere of the crime expertly


old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion


every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary


puts a refreshing and comical spin on the all-too-familiar saga of the contemporary single woman .


a surprising , subtle turn


above all about a young woman 's face , and by casting an actress whose face projects that woman 's doubts and yearnings


than a stylish exercise in revisionism whose point


the country bears wastes an exceptionally good idea .


, cletis tout is a winning comedy that excites the imagination and tickles the funny bone .


, there remains a huge gap between the film 's creepy


to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers


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


fashioned an absorbing look at provincial bourgeois french society


beautiful and mysterious


also happens to be good


that lends the setting the ethereal beauty of an asian landscape painting


leaves something to be desired


off-beat


the actors ' perfect comic timing and


loosely connected characters


second helpings of love , romance , tragedy , false dawns , real dawns , comic relief


does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes .


's no discernible feeling beneath the chest hair


, this is even better than the fellowship .


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


quietly moving


the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .


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


it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression


multilayered and sympathetic


a vastly improved germanic version


a strong first act


shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain


thoroughly satisfying entertainment


uniquely sensual metaphorical dramatization


decidedly flimsier with its many out-sized , out of character and logically porous action set


stomps in hobnail boots over natalie babbitt 's gentle , endearing 1975 children 's novel


offer any insights that have n't been thoroughly debated in the media already , back in the dahmer heyday of the mid - '90s


purposefully reductive movie


excellent performances from jacqueline bisset and martha plimpton


although the sequel has all the outward elements of the original , the first film 's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks .


makes the banger sisters a fascinating character study with laughs


do n't derive from the screenplay , but rather the mediocre performances by most of the actors involved


, satan is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24/7 .


the breathtakingly beautiful outer-space documentary space station 3d


a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment


a well-rounded tribute to a man whose achievements -- and complexities -- reached far beyond the end zone .


almost feels as if the movie is more interested in entertaining itself than in amusing us .


a spontaneity to the chateau , a sense of light-heartedness , that makes it attractive throughout


young everlyn sampi , as the courageous molly craig , simply radiates star-power potential in this remarkable and memorable film .


for drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable


energetic and always surprising performance


's coherent , well shot , and tartly


retains an extraordinary faith in the ability of images to communicate the truth of the world around him


somehow ms. griffiths and mr. pryce bring off this wild welsh whimsy .


you will likely prefer to keep on watching .


's not particularly well made


goes on and on to the point of nausea


clever and cutting


a good film with a solid pedigree both in front of and , more specifically , behind the camera .


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


ticket-buyers with great expectations will wind up as glum as mr. de niro .


truly awful and


not smart or


by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary


is more interested in entertaining itself than in amusing us


it takes an abrupt turn into glucose sentimentality and laughable contrivance


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


any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out


take his smooth , shrewd , powerful act


the killing field and the barbarism of ` ethnic cleansing


a fascinating , dark thriller that keeps you


win a wide summer audience through word-of-mouth reviews


watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say


violent , vulgar and forgettably entertaining .


worse ,


comedy that is warm , inviting , and surprising .


what a stiflingly unfunny and unoriginal mess this


on this screenplay


's that rare family movie -- genuine and sweet


the way this all works out makes the women look more like stereotypical caretakers and moral teachers , instead of serious athletes .


a low-budget series on a uhf channel


humor to cover up the yawning chasm where the plot should be


, it also represents glossy hollywood at its laziest .


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


has made a movie that will leave you wondering about the characters ' lives after the clever credits roll


very charming and funny movie


is funny , insightfully human and


, `` rollerball '' 2002 may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j.


so putrid it is not worth the price of the match that should be used to burn every print of the film .


, the updated dickensian sensibility of writer craig bartlett 's story is appealing .


, refreshingly ,


re-imagining of beauty and


... may put off insiders and outsiders alike .


in its effort to modernize it with encomia to diversity and tolerance


engages us in constant fits of laughter


wastes its time on mood rather than


an ungainly movie , ill-fitting , with its elbows sticking out where the knees should be


sticks his mug in the window of the couple 's bmw and begins haranguing the wife in bad stage dialogue


his subject justice


that beneath the hype , the celebrity , the high life , the conspiracies and the mystery there were once a couple of bright young men -- promising , talented , charismatic and tragically doomed


one makes


a fascinating , unnerving examination of the delusions


wang xiaoshuai directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men .


added disdain


is familiar but enjoyable


there is plenty of room for editing , and a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue


is generous and deep


to see two academy award winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that 's tv sitcom material at best


gives a superb performance full of deep feeling


endure every plot contrivance that the cliché-riddled genre can offer


washington demands and receives excellent performances


'' feels capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark .


cute animals and


feral and uncomfortable


a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged .


thoroughly enjoyable .


her love depraved leads meet , ( denis ' ) story becomes a hopeless , unsatisfying muddle


, repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue .


a thriller , and the performances


many of the condescending stereotypes that so often plague films dealing with the mentally ill


wild-and-woolly , wall-to-wall good time


is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia


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


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


has not spawned a single good film .


alarms for duvall 's throbbing sincerity and his elderly propensity for patting people while he talks


sees those relationships , including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen


once he starts learning to compromise with reality enough to become comparatively sane and healthy , the film becomes predictably conventional .


( fiji diver rusi vulakoro and the married couple howard and michelle hall ) show us the world they love and make


some quietly moving moments and an intelligent subtlety


the case for a strong education and good teachers being more valuable in the way they help increase an average student 's self-esteem


a huge disappointment coming , as it does , from filmmakers and performers of this calibre


despite its shortcomings , girls ca n't swim represents an engaging and intimate first feature by a talented director to watch , and it 's a worthy entry in the french coming-of-age genre .


hugely entertaining and uplifting


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


makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian


a clever thriller with enough unexpected twists to keep our interest


a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism


got a house full of tots -- do n't worry


simple , sweet and romantic comedy


this story about love and culture


is talented enough and charismatic enough to make us care about zelda 's ultimate fate .


if you 're looking for an intelligent movie in which you can release your pent up anger , enough is just the ticket you need .


cellophane-pop remake


lovely film


the main characters are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort .


's touching and tender and proves that even in sorrow you can find humor


is the best description of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree


encompasses many more paths


their cruel fate


charming the masses with star power , a pop-induced score and sentimental moments


takes a really long , slow and dreary time to dope out what tuck everlasting is about


remarkably


menace


if the film fails to fulfill its own ambitious goals


it all the more compelling


the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch .


in addition to the overcooked , ham-fisted direction , which has all the actors reaching for the back row


our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender -- and


say the obvious : abandon all hope of a good movie ye who enter here


becomes just another voyeuristic spectacle


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


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


a remake ) do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic


a supremely kittenish performance that gradually accumulates more layers


well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .


has the thrown-together feel of a summer-camp talent show : hastily written , underrehearsed , arbitrarily plotted and filled with crude humor and vulgar innuendo


it 's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .


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


spontaneous creativity and


satisfyingly odd and intriguing a tale


best performance


has a more colorful , more playful tone than his other films


from its cheesy screenplay


... lies a plot cobbled together from largely flat and uncreative moments .


, really good


delicious and delicately


of the most purely enjoyable and satisfying evenings at the movies i 've had in a while


a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16


includes battlefield earth and showgirls


can not engage


you wo n't be talking about the film once you exit the theater


is something rare and riveting : a wild ride that relies on more than special effects


when something goes bump in the night and nobody cares


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


the lady and the duke represents the filmmaker 's lifelong concern with formalist experimentation in cinematic art .


a rollicking good time


confuses its message with an ultimate desire to please , and


a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience


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


fret


staggers between flaccid satire and what


has never been smoother or more confident .


vincent became more and more abhorrent


regret , love , duty and friendship


an undeniable energy


in enough clever and unexpected


creative , energetic and original


potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .


as unblinkingly pure as the hours


every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible


a must-see for fans of thoughtful war films and those interested in the sights and sounds of battle .


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


a fascinating case study of flower-power liberation


faithful without being forceful , sad without being shrill , `` a walk to remember '' succeeds through sincerity .


made me unintentionally famous -- as the queasy-stomached critic who staggered from the theater and blacked out in the lobby


giant step backward


is such a perfect medium for children ,


directed , highly professional film that 's old-fashioned in all the best possible ways


a colorful , vibrant introduction to a universal human impulse , lushly photographed and beautifully recorded .


a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell


look behind the curtain that separates comics from the people laughing in the crowd .


ambitious , unsettling psychodrama that takes full , chilling advantage of its rough-around-the-edges , low-budget constraints


all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .


-- a retread story , bad writing , and the same old silliness


profoundly devastating events


the filmmaker 's extraordinary access to massoud


quietly moving moments and an intelligent subtlety


acted , quietly affecting cop drama .


from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer


it 's hard to imagine anybody ever being `` in the mood '' to view a movie as harrowing and painful as the grey zone


a lively and engaging examination


caring for animals and


like the rock on a wal-mart budget


entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .


is a disaster , with cloying messages and irksome characters


've completely lowered your entertainment standards


obvious determination to shock at any cost


stately sense


beyond road warrior , it owes enormous debts to aliens and every previous dragon drama


some intriguing questions about the difference between human and android life


to sober us up with the transparent attempts at moralizing


an ode to unconditional love and compassion garnered from years of seeing it all , a condition only the old are privy to , and ... often misconstrued as weakness