like a ruse , a tactic to cover up the fact that the picture is constructed around a core of flimsy -- or , worse yet , nonexistent -- ideas


, what a thrill ride


disconcertingly


are intriguing and realistic


fiercely intelligent and


, this quirky soccer import is forgettable


about being subjected to farts , urine , feces , semen , or any of the other foul substances


engages us in constant fits of laughter , until we find ourselves surprised at how much we care about the story


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


be distasteful to children and adults alike


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


makes the movie fresh


keep this fresh


quite frankly , i 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 .


comes off as a touching , transcendent love story .


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


meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story


it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .


hollow , self-indulgent , and - worst of all - boring


is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo


an undeniably moving film to experience , and


a low rate annie featuring some kid who ca n't act , only echoes of jordan , and weirdo actor crispin glover screwing things up old school


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


he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction


me


is a remake by the numbers , linking a halfwit plot to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie .


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


an engrossing story that combines psychological drama , sociological reflection , and high-octane thriller .


seems to have in mind an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested


nair just does n't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy .


gives poor dana carvey nothing to do that is really funny


because the cast is so engagingly messing around like slob city reductions of damon runyon crooks


often surprises you with unexpected comedy


grant carries the day with impeccable comic timing , raffish charm and piercing intellect .


a wild , endearing , masterful documentary


a sweet , charming tale of intergalactic friendship


both heartbreaking and heartwarming ... just a simple fable done in an artless sytle , but it 's tremendously moving .


would have made vittorio de sica proud


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


the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling


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


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


for a film -- rowdy , brawny and lyrical in the best irish sense


itself 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


( rises ) 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


forced drama in this wildly uneven movie ,


the attention process tends to do a little fleeing of its own .


, is pleasant , diverting and modest -- definitely a step in the right direction .


is a remarkably accessible and haunting film .


a soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for nba properties .


adds enough quirky and satirical touches in the screenplay to keep the film entertaining .


notice the glaring triteness of the plot device


, and at times uncommonly moving


digital photography


clever and unflinching


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


solid , satisfying


recommend snow dogs


secret ballot is a funny , puzzling movie ambiguous enough to be engaging and oddly moving .


to farts , urine , feces , semen , or any of the other foul substances


uses lighting effects and innovative backgrounds to an equally impressive degree


needs some serious re-working to show more of the dilemma , rather than have his characters stage shouting


stunt-hungry dimwits


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 .


is entry number twenty the worst of the brosnan bunch


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


leaves us wondering less about its ideas and more about its characterization of hitler and the contrived nature of its provocative conclusion


if stupid americans will get a kick out of goofy brits with cute accents performing ages-old slapstick and unfunny tricks


comes together to create a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment


is shallow , offensive and redundant ,


captures both the beauty of the land and the people .


it desperately wants to be a wacky , screwball comedy , but the most screwy thing here is how so many talented people were convinced to waste their time


, every shot enhances the excellent performances


good , solid storytelling .


the proficient , dull sorvino has no light touch , and


this movie is about an adult male dressed in pink jammies


the more hackneyed elements of the film


interesting cinematic devices ( cool visual backmasking ) , a solid cast , and some wickedly sick and twisted humor


can read the subtitles ( the opera is sung in italian ) and you like ` masterpiece theatre ' type costumes


, assured of the wrong things , and scared to admit how much they may really need the company of others


that will have viewers guessing just who 's being conned right up to the finale


painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people


beautifully crafted and cooly unsettling ... recreates


funny and touching .


too campy to work as straight drama and too violent and sordid to function as comedy , vulgar is , truly and thankfully , a one-of-a-kind work .


to call this one an eventual cult classic would be an understatement


of love and humility


a playful spirit


wimps out by going for that pg-13 rating , so


good-natured and sometimes quite funny


're content with a clever pseudo-bio that manages to have a good time as it doles out pieces of the famous director 's life


loved on first sight and , even more important


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


suffocate the illumination created by the two daughters


ignore the reputation , and ignore the film


has its heart ( and its palate ) in the right place


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 , `` besotted '' is misbegotten


very compelling , sensitive , intelligent


that makes eight legged freaks a perfectly entertaining summer diversion


tight and truthful , full of funny situations and honest observations


go to the u.n. and ask permission for a preemptive strike


she deftly spins the multiple stories in a vibrant and intoxicating fashion


as it stands , crocodile hunter has the hurried , badly cobbled look of the 1959 godzilla , which combined scenes of a japanese monster flick with canned shots of raymond burr commenting on the monster 's path of destruction .


grotesque and


, ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises . '


who sometimes feel more like literary conceits than flesh-and-blood humans


a weak and ineffective ghost story without a conclusion or pay off .


's apparently been forced by his kids to watch too many barney videos


a bittersweet drama about the limbo of grief and how truth-telling


unusually crafty and intelligent


the sentimental script has problems , but the actors pick up the slack


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


enjoyed most of mostly martha while i ne


nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows .


for its logical loopholes , which fly by so fast there 's no time to think about them anyway


leaps over national boundaries and celebrates universal human nature


it 's provocative stuff , but the speculative effort is hampered by taylor 's cartoonish performance and the film 's ill-considered notion that hitler 's destiny was shaped by the most random of chances .


takes a classic story , casts attractive and talented actors and uses a magnificent landscape to create a feature film that is wickedly fun to watch .


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


in many ways the perfect festival film : 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


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


faithful without being forceful , sad without being shrill , `` a walk to remember ''


painfully flat


the weight of water comes to resemble the kind of soft-core twaddle you 'd expect to see on showtime 's ` red shoe diaries . '


a small fortune in salaries and stunt cars might have been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek ) .


is a genuine love story , full of traditional layers of awakening and ripening and separation and recovery


fake , dishonest


beautifully crafted and cooly unsettling


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


quasi-documentary


surprisingly brilliant


elegant , witty and beneath a prim exterior unabashedly romantic


being subjected to farts , urine , feces , semen , or any of the other foul substances


invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god


well worth revisiting as many times


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


, holds the screen like a true star .


feels like very light errol morris , focusing on eccentricity but failing , ultimately , to make something bigger out of its scrapbook of oddballs


was impressed by how many tit-for-tat retaliatory responses the filmmakers allow before pulling the plug on the conspirators and averting an american-russian armageddon


shows crushingly little curiosity about


play well in european markets , where mr. besson is a brand name , and in asia , where ms. shu is an institution


this kind of hands-on storytelling is ultimately what makes shanghai ghetto move beyond a good , dry , reliable textbook and what allows it to rank with its worthy predecessors .


predictably soulless techno-tripe .


the movie 's seams may show ... but pellington gives `` mothman '' an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling .


, this somber cop drama ultimately feels as flat as the scruffy sands of its titular community .


stanley kwan has directed not only one of the best gay love stories ever made , but


caliber


seems uncertain


for an all-around good time at the movies this summer


stop eric schaeffer before he makes another film


the rich performances by friel -- and especially williams , an american actress who becomes fully english --


conveys the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all .


is the piece works brilliantly


allen , at 66 , has stopped challenging himself


is more interesting 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 .


with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long


a great american adventure and a wonderful film to bring to imax


the action here is unusually tame , the characters are too simplistic to maintain interest , and the plot offers few surprises


... plenty of warmth to go around , with music and laughter and the love of family .


to the serbs themselves


bludgeoning


a visual style that incorporates rotoscope animation for no apparent reason except


a terrific job


could be a single iota worse ... a soulless hunk of exploitative garbage .


offers a thoughtful and rewarding glimpse


owen wilson know a movie must have a story and a script ?


be compelling , amusing and unsettling


quickly forgettable


with no signs of life


it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time .


director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things , but the barriers finally prove to be too great


's kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers .


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


fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter


the hard-to-predict and absolutely essential chemistry between the down-to-earth bullock and the nonchalant grant proves to be sensational


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


quietly affecting cop drama


far-flung , illogical , and


does n't make for great cinema


what elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish .


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


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


poignant and uplifting story


have brought back the value and respect for the term epic cinema .


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


foul


sit and stare and turn away from one another instead of talking and it 's all about the silences and if you 're into that , have at it


with notorious c.h.o. cho proves she has the stuff to stand tall with pryor , carlin and murphy .


you get the impression that writer and director burr steers knows the territory ... but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools .


smoky and inviting


the look and the period trappings right


laughs -- sometimes a chuckle , sometimes a guffaw and , to my great pleasure ,


( seems ) even more uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .


the unacceptable , the unmentionable


describe as looking , sounding and simply feeling like no other film in recent history


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


it 's as if solondz had two ideas for two movies , could n't really figure out how to flesh either out , so


played game of absurd plot twists , idiotic court maneuvers and stupid characters that even freeman ca n't save it .


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


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


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


the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists


the film 's ending has a `` what was it all for


are alternately touching and funny


an astonishing voice cast ( excepting love hewitt ) , an interesting racial tension , and


a movie that will thrill you , touch you and make you


to call this one an eventual cult classic would be an understatement , and


we do n't get williams ' usual tear and a smile , just sneers and bile ,


builds to an intense indoor drama about compassion , sacrifice , and christian love


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


, we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and meat loaf explodes .


, i 'd take ( its ) earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor 's club any time .


shows us a slice of life that 's very different from our own and yet instantly recognizable .


another genre exercise , gangster no. 1 is as generic as its title .


what ( denis ) accomplishes in his chilling , unnerving film


little crossover appeal to those without much interest in the elizabethans ( as well as rank frustration from those in the know about rubbo 's dumbed-down tactics )


the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up


, the film never recovers from the clumsy cliché of the ugly american abroad , and the too-frosty exterior ms. paltrow employs to authenticate her british persona is another liability .


to make the most sincere and artful movie in which adam sandler will probably ever appear


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


sugary sentiment and withholds delivery


armed with a game supporting cast , from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud


a pleasant and engaging enough sit , but in trying to have the best of both worlds it ends up falling short as a whole .


a tired , unimaginative and derivative variation


even the hastily and amateurishly drawn animation


best sequel


gone , replaced by the forced funniness found in the dullest kiddie flicks


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


far more witty


affectionately goofy


clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .


with cute accents performing ages-old slapstick and unfunny tricks


leers , offering next to little insight into its intriguing subject


quite good


the slightly flawed ( and fairly unbelievable ) finale


a warm and well-told tale


it 's painful to watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama . '


savory and hilarious


no big whoop , nothing new to see , zero thrills , too many flashbacks and a choppy ending make for a bad film .


's sanctimonious , self-righteous and so eager


does n't quite go the distance


innovative ' and ` realistic '


an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .


an action hero with table manners


an unencouraging threefold expansion on the former mtv series


lost his touch ,


honestly nice


for an hour , in which we 're told something creepy and vague is in the works


the ensemble cast turns in a collectively stellar performance , and the writing is tight and truthful , full of funny situations and honest observations .


sharp objects


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


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


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


one of the most appealing movies ever made about an otherwise appalling , and downright creepy , subject -- a teenage boy in love with his stepmother


over a late-inning twist that just does n't make sense


's refreshing


90 punitive minutes of eardrum-dicing gunplay , screeching-metal smashups , and flaccid odd-couple sniping


little more than a stylish exercise in revisionism whose point


beautifully shot


what is and always has been remarkable about clung-to traditions


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


is n't very funny .


a gritty style and an excellent cast


a student film


is on full , irritating display in ( this ) meandering and pointless french coming-of-age import from writer-director anne-sophie birot


touching and funny


replete with the pubescent scandalous innuendo


are put to perfect use in the breathtakingly beautiful outer-space documentary space station 3d


most purely enjoyable


sustained fest of self-congratulation between actor and director that leaves scant place for the viewer


's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .


domestic tension and unhappiness


a maddeningly insistent and repetitive piano score that made me want to scream


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


evelyn 's strong cast and surehanded direction


the screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a `` dungeons and dragons '' fantasy with modern military weaponry ...


fairly ludicrous plot


, brooding and slow


was trying to decide what annoyed me most about god is great


love moore or


i have given it a one-star rating


the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits .


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


impeccable comic timing ,


despite its rough edges and a tendency to sag in certain places


why did they deem it necessary to document all this emotional misery ?


an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people


she 's not funny


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


is such that the movie does not do them justice


noticing some truly egregious lip-non-synching


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


kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers


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


a determined , ennui-hobbled slog that really does n't have much to say beyond the news


hopeless , unsatisfying muddle


seen some bad singer-turned actors


director peter kosminsky gives these women a forum to demonstrate their acting ` chops ' and


the film makes the viewer feel like the movie 's various victimized audience members after a while , but it also happens to be the movie 's most admirable quality


a summer of teen-driven , toilet-humor codswallop


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


interesting 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


by the sheer beauty of his images


loses himself to the film 's circular structure to ever offer any insightful discourse on , well , love in the time of money .


good vampire tale


's denial of sincere grief and mourning in favor of bogus spiritualism


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


a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .


instead of using george and lucy 's most obvious differences to ignite sparks , lawrence desperately looks elsewhere , seizing on george 's haplessness and lucy 's personality tics .


a sharp , amusing study of the cult of celebrity


breaks no new ground and


a really good premise is frittered away in middle-of-the-road blandness .


fiercely clever and subtle film


the thought of watching this film with an audience full of teenagers fixating on its body humor and reinforcement of stereotypes


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


that will probably sink the film for anyone who does n't think about percentages all day long


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


is hampered by its predictable plot and paper-thin supporting characters .


there are some movies that hit you from the first scene and you know it 's going to be a trip .


all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new


while this one gets off with a good natured warning , future lizard endeavors will need to adhere more closely to the laws of laughter


captures all the longing , anguish and ache , the confusing sexual messages and the wish to be a part of that elusive adult world


blessed with two fine , nuanced lead performances


enormously enjoyable , high-adrenaline documentary .


assembles a fascinating profile of a deeply humanistic artist who , in spite of all that he 's witnessed , remains surprisingly idealistic , and retains an extraordinary faith in the ability of images to communicate the truth of the world around him


created a substantive movie out of several cliched movie structures : the road movie , the coming-of-age movie , and the teenage sex comedy .


's fairly lame , making it par for the course for disney sequels .


cascade over the screen effortlessly


delivers an inspired portrait of male-ridden angst and the emotional blockage that accompanies this human condition


tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic


its funny , moving yarn


a witty , whimsical feature debut


five screenwriters are credited with the cliché-laden screenplay ; it seems as if each watered down the version of the one before


it certainly wo n't win any awards in the plot department but it sets out with no pretensions and delivers big time


a plethora of engaging diatribes on the meaning of ` home , ' delivered in grand passion by the members of the various households .


the slow parade of human frailty fascinates you


be low , very low , very very low ,


some movies were made for the big screen , some for the small screen , and some , like ballistic : ecks vs. sever , were made for the palm screen


stale , futile scenario


is casual and fun


susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb


what 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


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


was more diverting and thought-provoking than i 'd expected it to be


does such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating .


kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor .


triumphantly returns to narrative filmmaking with a visually masterful work of quiet power .


rosenthal ( halloween ii )


the lustrous polished visuals rich in color and creativity and


is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable


ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense


mel brooks ' borscht belt schtick look sophisticated


worst excesses


a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .


it 's time for an absurd finale of twisted metal , fireballs and revenge


a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery


it required viewing in university computer science departments for years to come


a reminder that beyond all the hype and recent digital glitz , spielberg knows how to tell us about people .


louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman 's script stumbles over a late-inning twist that just does n't make sense


banality and hypocrisy


a welcome relief from the usual two-dimensional offerings


directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story


is fluid and quick


barely shocking , barely interesting and most of all , barely


, while nothing special , is pleasant , diverting and modest -- definitely a step in the right direction .


her appear foolish and shallow rather than , as was more likely ,


a high-powered star pedigree


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


good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart


a film which presses familiar herzog tropes into the service of a limpid and conventional historical fiction , when really what we demand of the director


a bland animated sequel that hardly seems worth the effort .


easier to sit through than most of jaglom 's self-conscious and gratingly irritating films


a step further , richer and


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


, great to look at , and funny


huppert scheming , with her small , intelligent eyes


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


asks the question how much souvlaki can you take before indigestion sets in


from the start -- and , refreshingly , stays that way


allows his cast the benefit of being able to give full performances ... while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself .


... might i suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener ?


a funny , triumphant , and


a huge cut of above the rest


a good movie


's sweet and fluffy at the time


's pretty linear and only makeup-deep


to be a parody of gross-out flicks , college flicks , or even flicks in general


true


you have an interest in the characters you see


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


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


disposible


same option to slap her creators because they 're clueless and inept


feel like mopping up ,


the edge of your seat with its shape-shifting perils , political intrigue and brushes


time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers ,


a tasteful , intelligent manner


compelling look


moore provides an invaluable service by sparking debate and encouraging thought .


a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china


, powerful act


features some decent performances


might have been called freddy gets molested by a dog


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


duvall is strong as always .


is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot .


her fans will assuredly have their funny bones tickled


this gorgeous epic is guaranteed to lift the spirits of the whole family .


when he moves his setting to the past , and relies on a historical text , he loses the richness of characterization that makes his films so memorable


be depressing , as the lead actor phones in his autobiographical performance


the dramatic scenes are frequently unintentionally funny , and the action sequences -- clearly the main event -- are surprisingly uninvolving .


is spooky and subtly in love with myth


that are powerful and moving without stooping to base melodrama


belongs to the marvelous verdu , a sexy slip of an earth mother who mourns her tragedies in private and embraces life in public


watch on video at home


there are a couple of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall .


belongs in the too-hot-for-tv direct-to-video/dvd category , and this is why i have given it a one-star rating .


schnieder bounces around with limp wrists , wearing tight tummy tops and hip huggers , twirling his hair on his finger and assuming that 's enough to sustain laughs ...


cheats on itself and retreats to comfortable territory .


the lustrous polished visuals rich in color and creativity and , of course , special effect


feel sanitised and stagey


that will be best appreciated by those willing to endure its extremely languorous rhythms , waiting for happiness


this ill-conceived and expensive project winds up looking like a bunch of talented thesps slumming it .


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making


look like cheap hysterics


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


c.h.o. cho proves she has the stuff to stand tall with pryor , carlin and murphy .


's never dull and


brash , intelligent and


dragged through a sad , sordid universe of guns , drugs , avarice and damaged dreams


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


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


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


slapping its target audience in the face by shooting itself in the foot


like puppies with broken legs / and butterflies that die / and movies starring pop queens


smart , nuanced look


his cipherlike personality and bad behavior would play fine if the movie knew what to do with him


in the end , the movie bogs down in insignificance , saying nothing about kennedy 's assassination and revealing nothing about the pathology it pretends to investigate .


fails on its own ,


too amateurish and awkward


's fun , splashy and entertainingly nasty .


once playful and haunting


's a testament to de niro and director michael caton-jones that by movie 's end , we accept the characters and the film , flaws and all .


the ring never lets you off the hook .


low-budget , video-shot


the grace to call for prevention rather than to place blame , making it one of the best war movies ever made


by england 's roger mitchell , who handily makes the move from pleasing


lurches between not-very-funny comedy , unconvincing dramatics


wickedly funny and just plain wicked


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


are cast adrift in various new york city locations with no unifying rhythm or visual style


some people march to the beat of a different drum


marvelous documentary touches -- ever so gracefully -- on the entire history of the yiddish theater , both in america and israel


sand 's masculine persona , with its love of life and beauty , takes form


proved too difficult


eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good


a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing


a far bigger , far more meaningful story


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


worth yet another visit


britney spears ' phoniness is nothing compared to the movie 's contrived , lame screenplay and listless direction .


love its fantasy and adventure


unless there are zoning ordinances to protect your community from the dullest science fiction , impostor is opening today at a theater near you .


a stylish but steady , and ultimately very satisfying , piece


, in praise of love lacks even the most fragmented charms i have found in almost all of his previous works .


the plot of the comeback curlers is n't very interesting actually ,


on `` stupid ''


renner carries much of the film with a creepy and dead-on performance .


without ( de niro ) , city by the sea would slip under the waves .


a story already overladen with plot conceits


but no-nonsense human beings they are and


about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us


in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable


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


's a very tasteful rock and roll movie .


have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination


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


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


a fascinating documentary about the long and eventful spiritual journey of the guru who helped launch the new age .


right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination


wickedly funny , visually engrossing , never boring , this movie challenges us to think about the ways we consume pop culture .


does n't quite do justice to the awfulness of the movie , for that comes through all too painfully in the execution .


punctuated by flying guts


the film is a hilarious adventure and i shamelessly enjoyed it


seems timely and important


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


, eight legged freaks is prime escapist fare .


a timeless and unique perspective


has no clue about making a movie


that shows its indie tatters and self-conscious seams in places , but has some quietly moving moments and an intelligent subtlety


groaners


when your subject is illusion versus reality , should n't the reality seem at least passably real ?


marvelously entertaining and


's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing


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


is the refreshingly unhibited enthusiasm


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


ugly and destructive little ****


from the real-life story to portray themselves in the film


in self-consciously flashy camera effects , droning house music and flat , flat dialogue


hollowness


demonic doings on the high seas that works better the less the brain is engaged


a retooling of fahrenheit 451 , and even as a rip-off of the matrix


a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films


i never thought i 'd say this , but i 'd much rather watch teens poking their genitals into fruit pies !


$ 1.8 million charmer


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


has the dubious distinction of being a really bad imitation of the really bad blair witch project .


despite its sincere acting , signs is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .


a perfect family film to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year


it 's a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own .


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


mr. polanski creates images even more haunting than those in mr. spielberg 's 1993 classic .


returns de palma to his pulpy thrillers of the early '80s


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


as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .


is simply no doubt that this film asks the right questions at the right time in the history of our country .


is hollow , self-indulgent , and - worst of all - boring


, they wo n't enjoy the movie at all .


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


aware of his own coolness


the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality


recommend read my lips


well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop


suffered and bled


an obvious rapport with her actors and a striking style behind the camera


i had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration


that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm


would require many sessions on the couch of dr. freud


`` bad '' is the operative word for `` bad company , '' and i do n't mean that in a good way .


is still top-heavy with blazing guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves that serve no other purpose than to call attention to themselves


an insult to every family whose mother has suffered through the horrible pains of a death by cancer


on subtle ironies and visual devices


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


engaging and moving portrait


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


deliver a riveting and surprisingly romantic ride


... is so intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics .


projects onto the screen -- loud , violent and mindless


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


in an increasingly important film industry and worth the look


is murder by numbers , and as easy to be bored by as your abc 's , despite a few whopping shootouts .


using an endearing cast , writer/director dover kosashvili takes a slightly dark look at relationships , both sexual and kindred .


with the kind of visual flair that shows what great cinema can really do


brosnan 's finest non-bondish performance yet fails to overcome the film 's manipulative sentimentality and annoying stereotypes .


there 's no palpable chemistry between lopez and male lead ralph fiennes


, the characters move with grace and panache


should not be missed


almost bergmanesque intensity


fessenden continues to do interesting work , and


ensemble cast romances recently


pompous and garbled .


it 's leaden and predictable ,


a compelling story to tell


skillful and moving


fiercely intelligent and uncommonly ambitious


the mill sci-fi film with a flimsy ending and


painfully slow cliche-ridden film


must be given to the water-camera operating team of don king , sonny miller , and michael stewart .


sparkles


celebrates the human spirit


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


falsehoods pile up , undermining the movie 's reality and stifling its creator 's comic voice .


with dirty deeds , david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen .


writer/director dover kosashvili takes a slightly dark look at relationships , both sexual and kindred .


a cruelly funny twist on teen comedy packed with inventive cinematic tricks and an ironically killer soundtrack


... a quietly introspective portrait of the self-esteem of employment and the shame of losing a job ...


the fluid motion is astounding on any number of levels -- including the physical demands made on büttner -- and


in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo


snail-like


diesel , with his brawny frame and cool , composed delivery , fits the bill perfectly


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


the holes in this film remain agape -- holes punched through by an inconsistent , meandering , and sometimes dry plot


impresses as a skillfully assembled , highly polished and professional adaptation ... just about as chilling and unsettling as ` manhunter '


elegant and eloquent ( meditation ) on death and that most elusive of passions , love .


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


is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents .


that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting


a well-written and occasionally challenging social drama that actually has something interesting to say


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


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


a rumor of angels does n't just slip -- it avalanches into forced fuzziness .


a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world


( seagal 's ) strenuous attempt at a change in expression could very well clinch him this year 's razzie .


cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and


star-power potential in this remarkable and memorable film


the picture is constructed around a core of flimsy -- or , worse yet , nonexistent -- ideas


bring off this wild welsh whimsy


a real winner -- smart , funny , subtle , and resonant .


a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature .


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


carries a little too much ai n't - she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff


a heartening tale of small victories and enduring


is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge .


watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama


enough originality in ` life ' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens


is that rare combination of bad writing , bad direction and bad acting -- the trifecta of badness .


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


its easily dismissive


another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


hugely enjoyable film


too goodly , wise and knowing


share his story so compellingly with us is a minor miracle


from an adventurous young talent who finds his inspiration on the fringes of the american underground


that does n't even in passing mention political prisoners , poverty and the boat loads of people who try to escape the country


the film is competent


1995 's forget paris


is thought-provoking


bringing off a superb performance in an admittedly middling film


takes no apparent joy


does too much meandering , norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced , hopkins looks like a drag queen .


that was ushered in by the full monty and is still straining to produce another smash


jovial air


a 1986 harlem that does n't look much like anywhere in new york


is still fun and enjoyable and so aggressively silly that it 's more than a worthwhile effort .


it concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt .


the film fits into a genre that has been overexposed , redolent of a thousand cliches , and yet remains uniquely itself , vibrant with originality .


seeming at once both refreshingly different and reassuringly familiar


crocodile hunter has the hurried , badly cobbled look of the 1959 godzilla , which combined scenes of a japanese monster flick with canned shots of raymond burr commenting on the monster 's path of destruction .


-- but still quite tasty and inviting all the same


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


there are cheesy backdrops , ridiculous action sequences , and many tired jokes about men in heels .


touches the heart and the funnybone thanks


represents glossy hollywood at its laziest


exercise in narcissism and self-congratulation disguised as a tribute


dogtown and z-boys has a compelling story to tell .


inventive and mordantly humorous


as such the film has a difficult time shaking its blair witch project real-time roots


gentle but insistent


then they works spectacularly well ... a shiver-inducing , nerve-rattling ride .


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


's well worth spending some time with


lacking substance and soul


steve oedekerk is , alas , no woody allen .


surprisingly entertaining


true and historically significant


a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks


is warm , inviting , and surprising


a non-stop funny feast of warmth , color and cringe


neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .


anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair


enough quirky and satirical touches


is an imaginative filmmaker who can see the forest for the trees


makes sure the salton sea works the way a good noir should ,


's more enjoyable than i expected ,


a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries .


that rare family movie -- genuine and sweet


, this one is a sweet and modest and ultimately winning story .


's a very tasteful rock and roll movie


there is nothing distinguishing in a randall wallace film


this is one of those war movies that focuses on human interaction rather than battle and action sequences ... and it 's all the stronger because of it


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


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


because both are just actory concoctions , defined by childlike dimness and a handful of quirks


the value and respect for the term epic cinema


, '' it 's equally distasteful to watch him sing the lyrics to `` tonight . ''


to see how many times they can work the words `` radical '' or `` suck '' into a sentence


( jeff 's ) gorgeous , fluid compositions , underlined by neil finn and edmund mcwilliams 's melancholy music , are charged with metaphor , but rarely easy , obvious or self-indulgent .


holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized


forced by his kids to watch too many barney videos


uplifting , funny and wise .


i almost expected there to be a collection taken for the comedian at the end of the show .


a confident , richly acted , emotionally devastating piece of work and 2002 's first great film


beautifully read


difficult to imagine that a more confused , less interesting and more sloppily made film could possibly come down the road in 2002


a satisfying summer blockbuster and


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


the hypnotic imagery and fragmentary tale explore the connections between place and personal identity .


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


a good deal funnier


perfect black pearls


of a particularly nightmarish fairytale


nair 's cast is so large it 's altman-esque , but she deftly spins the multiple stories in a vibrant and intoxicating fashion


whine , the bellyaching of a paranoid and unlikable man


yakusho , as always , is wonderful as the long-faced sad sack ... and his chemistry with shimizu is very believable


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 .


a gorgeously strange movie , heaven is deeply concerned with morality


if you love the music , and i do


plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting


best and most mature


a film that affirms the nourishing aspects of love and companionship


is like seeing a series of perfect black pearls clicking together to form a string


technically superb


will have a barrie good time


it 's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original .


into a few evocative images and striking character traits


a fine-looking film with a bouncy score and a clutch of lively songs for deft punctuation


has deftly trimmed dickens ' wonderfully sprawling soap opera , the better to focus on the hero 's odyssey from cowering poverty to courage and happiness .


rote work and predictable


fontaine 's direction , especially her agreeably startling use of close-ups and her grace with a moving camera ,


, why should you buy the movie milk when the tv cow is free ?


although frailty fits into a classic genre , in its script and execution it is a remarkably original work .


suspects that craven endorses they simply because this movie makes his own look much better by comparison


a bizarre piece of work , with premise and dialogue at the level of kids ' television and plot threads as morose as teen pregnancy , rape and suspected murder


typical late-twenty-somethings natter


yet another genre exercise , gangster no. 1 is as generic as its title .


star charisma


a straight-shooting family film which awards animals the respect they


an adventurous young talent who finds his inspiration on the fringes of the american underground


proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .


stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable


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


to remarkable performances


short of wonderful with its ten-year-old female protagonist and its steadfast refusal to set up a dualistic battle between good and evil .


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


captures the debilitating grief


hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound


its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick


lyrical and celebratory vision


stale first act , scrooge story , blatant product placement


fresh by an intelligent screenplay and gripping performances


like some futile concoction that was developed hastily after oedekerk


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


surprisingly refreshing


, parker exposes the limitations of his skill and the basic flaws in his vision . '


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


a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you 're going to alter the bard 's ending , you 'd better have a good alternative


would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes .


if good-hearted


the problems and characters it reveals are universal and involving , and the film itself -- as well its delightful cast -- is so breezy , pretty and gifted , it really won my heart


, creativity , and fearlessness


richly detailed , deftly executed and


deftly spins the multiple stories in a vibrant and intoxicating fashion


post-september 11 , `` the sum of all fears '' seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .


it more than makes up for in drama , suspense , revenge , and romance .


the talented cast


a thoughtful , reverent portrait


acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses


snipes is both a snore and utter tripe .


's an exhilarating place to visit , this laboratory of laughter


cat-and-mouse , three-dimensional characters and believable performances


a genuinely funny ensemble comedy that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives .


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


is moody , oozing , chilling and heart-warming all at once ...


the series ' message about making the right choice in the face of tempting alternatives remains prominent , as do the girls ' amusing personalities .


piecing the story together frustrating difficult


enjoy its own transparency


such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating


each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial


is not more lucratively engaged in the shameless self-caricature of ` analyze this ' ( 1999 ) and ` analyze that , ' promised ( or threatened ) for later this year


good intentions leads to the video store


spinning a web of dazzling entertainment may be overstating it , but `` spider-man '' certainly delivers the goods


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


is a confusing melange of tones and styles , one moment a romantic trifle and the next a turgid drama


stale and


paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers


you 're on the edge of your seat


like something wholly original


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


patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary .


recommend ``


are the lively intelligence of the artists and their perceptiveness about their own situations


expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune )


, it 's the very definition of epic adventure .


sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .


of the best war movies ever made


a shimmeringly lovely coming-of-age portrait , shot in artful , watery tones of blue , green and brown .


songbird britney spears has popped up with more mindless drivel .


none of the characters or plot-lines are fleshed-out enough to build any interest .


is that , by the end , no one in the audience or the film seems to really care .


the half-lit , sometimes creepy intimacy of college dorm rooms , a subtlety that makes the silly , over-the-top coda especially disappointing


overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors


schticky


like a skillful fisher , the director uses the last act to reel in the audience since its poignancy hooks us completely .


as their natural instinct for self-preservation


it follows the blair witch formula for an hour , in which we 're told something creepy and vague is in the works , and then it goes awry in the final 30 minutes .


attack


what can easily be considered career-best performances


men in black ii achieves ultimate insignificance -- it 's the sci-fi comedy spectacle as whiffle-ball epic


i 've never seen or heard anything quite like this film , and i recommend it for its originality alone .


while not quite `` shrek '' or `` monsters , inc. '' , it 's not too bad .


its elegantly colorful look and


a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties


a mesmerizing performance as a full-fledged sex addict


being unique does n't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .


's crap on a leash -- far too polite to scale the lunatic heights of joe dante 's similarly styled gremlins


the star who helped give a spark to `` chasing amy '' and `` changing lanes '' falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears


, paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .


transcends the normal divisions between fiction and nonfiction film


hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks


if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese


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


an exquisite , unfakable sense


demanding


actually makes the heart soar


deeply biased , and wholly


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


this is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .


bad sitcom


moving and revelatory


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


made the near-fatal mistake of being what the english call ` too clever by half


reaffirming washington as possibly the best actor working in movies today


like vardalos and corbett , who play their roles with vibrant charm , the film , directed by joel zwick , is heartfelt and hilarious in ways you ca n't fake .


although ... visually striking and slickly staged


approaches his difficult , endless work with remarkable serenity and discipline


a delightful , if minor , pastry of a movie


gorgeous , passionate , and at times uncommonly moving


once again that a man in drag is not in and of himself funny


a purpose and a strong pulse


there 's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme .


a winning and wildly fascinating work


it leaves a bad taste in your mouth and questions on your mind


( h ) ad i suffered and bled on the hard ground of ia drang , i 'd want something a bit more complex than we were soldiers to be remembered by .


beautifully animated epic


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


ride for the kiddies , with enough eye candy and cheeky wit to keep parents away from the concession stand


savvy , compelling


, these components combine into one terrific story with lots of laughs .


a nice cool glass of iced tea


transcends its agenda to deliver awe-inspiring , at times sublime , visuals


moonlight mile does n't quite go the distance


seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense


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


the large-format film is well suited to capture these musicians in full regalia and the incredible imax sound system lets you feel the beat down to your toes


coupling disgracefully written dialogue with flailing bodily movements that substitute for acting


her performance moves between heartbreak and rebellion as she continually tries to accommodate to fit in and gain the unconditional love she seeks .


weird and wonderful comedy


to courage and happiness


from cowering poverty to courage and happiness


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


love in remembrance .


suspense , surprise and consistent emotional conviction


sweet , charming


an unusual but pleasantly haunting debut behind the camera


an artful yet depressing film that makes a melodramatic mountain out of the molehill of a missing bike .


colors the picture in some evocative shades .


filled with crude humor and vulgar innuendo


loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion


breathes more on the big screen


it strikes hardest ... when it reminds you how pertinent its dynamics remain .


antwone fisher certainly does the trick of making us care about its protagonist and celebrate his victories


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


a thoroughly engaging , surprisingly touching british comedy .


is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue .


is good ,


it 's usually a bad sign when directors abandon their scripts and go where the moment takes them ,


`` solaris '' is a shapeless inconsequential move relying on the viewer to do most of the work .


to modernize it with encomia to diversity and tolerance


begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy


subtle and richly


a funny and touching film that is gorgeously


, this clever and very satisfying picture is more accurately chabrolian .


, clarity and emotional


a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke


solidly constructed , entertaining thriller


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


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


a dim-witted and lazy spin-off of the animal planet documentary series , crocodile hunter


, timeless and universal tale


a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances , it has considerable charm .


telling the story , which is paper-thin and decidedly unoriginal


it also represents glossy hollywood at its laziest .


becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if . ''


a rich tale


, son of the bride becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if . ''


's refreshing to see a romance this smart .


there 's a delightfully quirky movie to be made from curling , but


the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness


plodding


sincere and artful


the ensemble cast , the flat dialogue by vincent r. nebrida or the gutless direction by laurice guillen


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


crossroads feels like a teenybopper ed wood film , replete with the pubescent scandalous innuendo and the high-strung but flaccid drama .


does a terrific job conjuring up a sinister , menacing atmosphere though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head


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


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


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


a fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system


does n't get the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez .


defiantly and delightfully against the grain


funny film


is perfectly creepy and believable


disappointing to a certain degree


it 's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure .


featuring reams of flatly


so bland and utterly forgettable


infuses the film


he 's a slow study : the action is stilted and the tabloid energy embalmed .


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


the rich and sudden wisdom ,


a dashing and resourceful hero ; a lisping , reptilian villain


change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's


he delivers fascinating psychological fare


even the hastily and amateurishly drawn animation can not engage .


smart , funny , subtle , and resonant


plays like a student film by two guys who desperately want to be quentin tarantino when they grow up .


the slapstick is labored , and the bigger setpieces flat .


most purely enjoyable and satisfying evenings


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


heated sexuality


with dickens ' words and writer-director douglas mcgrath 's even-toned direction


impressive and highly entertaining


's a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties .


an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine line between passion and pretence .


such an excellent job


fresh and absorbing look


then his tone retains a genteel , prep-school quality that feels dusty and leatherbound


hong kong action cinema is still alive and kicking


the filmmakers needed more emphasis on the storytelling and less on the glamorous machine that thrusts the audience into a future they wo n't much care about .


funny , uplifting and moving


at once both refreshingly different and


's insecure in lovely and amazing ,


far more successful


is heartfelt and hilarious


working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .


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


usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography


an effortlessly accomplished and richly resonant work .


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


bolstered by exceptional performances and a clear-eyed take on the economics of dealing and the pathology of ghetto fabulousness .


with the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling .


this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre gets way too mushy -- and in a relatively short amount of time .


boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years


it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .


a vivid , sometimes surreal ,


captures all the longing , anguish and ache , the confusing sexual messages and the wish to be a part of that elusive adult world .


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


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


is supremely unfunny and unentertaining to watch middle-age


would anyone cast the magnificent jackie chan in a movie full of stunt doubles and special effects ?


hill looks to be going through the motions , beginning with the pale script .


bottom


watch them clumsily mugging their way through snow dogs


lacks the spirit of the previous two


earned my indignant , preemptive departure


a stylish exercise in revisionism whose point


it 's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor .


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


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


gooding is the energetic frontman , and


and choppy recycling


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


form an acting bond that makes the banger sisters a fascinating character study with laughs to spare


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


great dragons !


's unique and quirky about canadians


a bizarre piece of work , with premise and dialogue at the level of kids ' television and plot threads


a look


spied with my little eye ... a mediocre collection of cookie-cutter action scenes


low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography ,


witty , vibrant , and intelligent .


appeal to those without much interest in the elizabethans ( as well as rank frustration from those in the know about rubbo 's dumbed-down tactics )


, colin hanks is in bad need of major acting lessons and maybe a little coffee .


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


's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth .


though its story is only surface deep , the visuals and enveloping sounds of blue crush make this surprisingly decent flick worth a summertime look-see .


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


he 's well worth spending some time with


a delicious , quirky movie with a terrific screenplay and fanciful direction by michael gondry


allows americans to finally revel in its splendor


with cloying messages and irksome characters


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


a distinguished and thoughtful film


conveys the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all


vainly , i think


this nasty comedy pokes fun at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables -- without much success .


above the level of an after-school tv special


haynes ( like sirk , but differently ) has transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange .


i laughed throughout the movie


that tells us nothing new


does too much meandering , norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced , hopkins looks like a drag queen


balanced or fair


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


it 's good-natured and sometimes quite funny


, a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .


all right , 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 .


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


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


an unsettling sight , and indicative of his , if you will , out-of-kilter character ,


pull together easily accessible stories that resonate with profundity


a good and ambitious film


impersonal and


lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child 's interest and an adult 's patience


the film is delicately narrated by martin landau and directed with sensitivity and skill by dana janklowicz-mann .


make you put away the guitar , sell the amp , and apply to medical school


a heartening tale of small victories and enduring hope .


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


inventive screenplay


rank as one of the cleverest , most deceptively amusing comedies of the year .


it is supremely unfunny and unentertaining to watch middle-age and older men drink to excess , piss on trees , b.s. one another and put on a show in drag .


, insightful and entertaining


strong and unforced supporting cast


a fleet-footed and pleasingly upbeat family diversion .


lacks the spirit of the previous two , and makes all those jokes about hos and even more unmentionable subjects seem like mere splashing around in the muck .


a funny , triumphant , and moving documentary


a profoundly stupid affair , populating its hackneyed and meanspirited storyline with cardboard characters and performers who value cash above credibility .


ace japanimator hayao miyazaki 's spirited away


extremely talented


... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920


was kind of terrific


can not guess why the cast and crew did n't sign a pact to burn the negative and the script and pretend the whole thing never existed .


deemed important enough to make a film in which someone has to be hired to portray richard dawson


a light , yet engrossing piece .


a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state


an extraordinary poignancy , and the story


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


its through-line of family and community is heartening in the same way that each season marks a new start .


by cliches , painful improbability and murky points


a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads


almost every possible way -- from the writing and direction to the soggy performances -- tossed off


weighted down with slow , uninvolving storytelling and flat acting


consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt .


goes on and on to the point of nausea .


the whole thing 's fairly lame , making it par for the course for disney sequels .


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


has been lost in the translation ... another routine hollywood frightfest in which the slack execution italicizes the absurdity of the premise .


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


are simply dazzling , particularly balk , who 's finally been given a part worthy of her considerable talents .


has found the perfect material with which to address his own world war ii experience in his signature style .


makes the move from pleasing


entirely suspenseful , extremely well-paced and ultimately ... dare i say , entertaining !


thoughtful and rewarding glimpse


managing 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


is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .


hartley adds enough quirky and satirical touches in the screenplay to keep the film entertaining .


little more than a particularly slanted , gay s/m fantasy , enervating


it just did n't mean much to me and played too skewed to ever get a hold on ( or be entertained by )


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


talkiness


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


a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man


a striking style behind the camera


even more reassuring is how its makers actually seem to understand what made allen 's romantic comedies so pertinent and enduring


as vincent became more and more abhorrent


secretary manages a neat trick , bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie .


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


very choppy and monosyllabic despite the fact


a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences .


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


to the vast majority of more casual filmgoers , it will probably be a talky bore .


things really get weird , though not particularly scary :


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


, well , funnier .


trimmed dickens ' wonderfully sprawling soap opera , the better to focus on the hero 's odyssey from cowering poverty to courage and happiness


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


it gives poor dana carvey nothing to do that is really funny


devastatingly powerful and astonishingly vivid holocaust drama .


quite makes it to the boiling point , but manages to sustain a good simmer for most of its running time


slack complacency


'' is a sweet treasure and something well worth your time .


garcía bernal and talancón are an immensely appealing couple


distances you by throwing out so many red herrings , so many false scares , that the genuine ones barely register .


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


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


, uplifting and moving


this remarkable and memorable film


transcends its agenda to deliver awe-inspiring , at times sublime , visuals and


is so slovenly done , so primitive in technique , that it ca n't really be called animation .


redundant concept


a sharp and quick documentary that is funny and pithy , while illuminating an era of theatrical comedy that , while past ,


has a knack for casting , often resurrecting performers who rarely work in movies now ... and drawing flavorful performances from bland actors .


complex from the start -- and , refreshingly , stays that way


a standard police-oriented drama that , were it not for de niro 's participation , would have likely wound up a tnt original .


a triumph of pure craft and passionate heart


has the right stuff for silly summer entertainment and has enough laughs to sustain interest to the end .


it 's not that funny -- which is just generally insulting .


if you 're looking for a smart , nuanced look at de sade and what might have happened at picpus , sade is your film .


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


's back-stabbing , inter-racial desire and , most importantly , singing and dancing .


are the uneven performances by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent


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


as they may be , the cartoons look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy .


smart , sassy and exceptionally charming


it 's more enjoyable than i expected , though , and that 's because the laughs come from fairly basic comedic constructs


a really long , slow and dreary time


of the pushiness and decibel volume of most contemporary comedies


introducing an intriguing and alluring premise ,


essentially juiceless


shoot it in the head


basically the sort of cautionary tale that was old when ` angels with dirty faces ' appeared in 1938


afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn


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


it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action .


remarkable movie


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


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


a light , yet engrossing piece


mr. scorsese 's bravery and integrity in advancing this vision


its relaxed ,


paper-thin , and their personalities undergo radical changes when it suits the script


the sword fighting is well done


would 've been nice if the screenwriters had trusted audiences to understand a complex story , and left off the film 's predictable denouement .


i am more offended by his lack of faith in his audience than by anything on display here .


a surprisingly charming and even witty match


substandard


but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history


because of its broad racial insensitivity towards african-americans


was , uh , michael zaidan , was supposed to have like written the screenplay or something


to an impressive and highly entertaining celebration of its sounds


runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem


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


where the situations and the dialogue spin hopelessly out of control -- that is to say


's a technically superb film , shining with all the usual spielberg flair , expertly utilizing the talents of his top-notch creative team


refreshing to see a romance this smart


a refreshingly forthright one


a step further , richer and deeper


the otherwise good-naturedness of mr. deeds , with its embrace of sheer goofiness and cameos


only because the cast is so engagingly messing around like slob city reductions of damon runyon crooks


the irwins ' scenes are fascinating ; the movie as a whole is cheap junk and an insult to their death-defying efforts


, common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .


, letting its imagery speak for it while it forces you to ponder anew what a movie can be .


wind up as glum as mr. de niro


the movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension .


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


a loud , low-budget and tired formula film


a wishy-washy melodramatic movie that shows us plenty of sturm und drung , but explains its characters ' decisions only unsatisfactorily .


touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths .


serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .


well worth revisiting as many times as possible


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


of human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film


be able to appreciate the wonderful cinematography and naturalistic acting


are familiar with , and makes you care about music you may not have heard before .


kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor


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 .


with its paint fights , motorized scooter chases and dewy-eyed sentiment , it 's a pretty listless collection of kid-movie clichés .


to be both hugely entertaining and uplifting


jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and


does leblanc make one spectacularly ugly-looking broad , but he appears miserable throughout as he swaggers through his scenes .


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


very little to add beyond the dark visions already relayed by superb recent predecessors


director peter kosminsky gives these women a forum to demonstrate their acting ` chops ' and they take full advantage


cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story . '


if you liked the previous movies in the series


about memory and regret


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


, like its subjects , delivers the goods and audiences will have a fun , no-frills ride .


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 ,


made me realize that we really have n't had a good cheesy b-movie playing in theaters since ... well ... since last week 's reign of fire


obvious , preposterous , the movie will likely set the cause of woman warriors back decades .


sparkles with the the wisdom and humor of its subjects .


... a weak and ineffective ghost story without a conclusion or pay off .


is not first-rate


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


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 ? ''


a film that 's barely shocking , barely interesting and most of all , barely anything


a chilling tale


, kissing jessica steinis quirky , charming and often hilarious .


director douglas mcgrath


, the picture begins to resemble the shapeless , grasping actors ' workshop that it is .


valiant attempt to tell a story about the vietnam war before the pathology set in


kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party


a hypnotic cyber hymn and a cruel story of youth culture .


bordering on offensive , waste of time , money and celluloid


` post-feminist ' romantic comedy that takes an astonishingly condescending attitude toward women


from a deceptively simple premise , this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .


bring on the battle bots , please


never gets over its own investment in conventional arrangements , in terms of love , age , gender , race , and class .


the filmmakers found this a remarkable and novel concept


curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget


same love story


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


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


spirituality that are powerful and moving without stooping to base melodrama


a thoughtful , reverent portrait of what


soulless and -- even more damning -- virtually joyless , xxx achieves near virtuosity in its crapulence .


a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


upper west sidey exercise in narcissism and self-congratulation disguised as a tribute .


to faith and rainbows


is an enjoyable big movie primarily because australia is a weirdly beautiful place


a delicious crime drama on par with the slickest of mamet


, '' derrida is an undeniably fascinating and playful fellow .


assayas ' ambitious , sometimes beautiful adaptation of jacques chardonne 's novel .


he can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .


's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding


is a disaster of a story , full of holes and completely lacking in chills


as brave and challenging as you could possibly expect these days from american cinema