of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise


often lingers just as long on the irrelevant as on the engaging , which gradually turns what time is it there ?


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


made him feel powerful


boasts enough funny dialogue and sharp


is so self-pitying


were worried


delighted


the tuxedo was n't just bad


has all the enjoyable randomness of a very lively dream and


painfully forced


`` bowling for columbine '' remains a disquieting and thought-provoking film ...


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


because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue


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


the performances are amiable and committed , and the comedy more often than not hits the bullseye


the horrible pains


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


full , chilling advantage


this smart-aleck movie ... tosses around some intriguing questions about the difference between human and android life


he gives none to the audience


while it may not add up to the sum of its parts


too polite to scale the lunatic heights of joe dante 's similarly styled gremlins


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


this is a remarkably accessible and haunting film .


mess ...


does the field no favors


williams ' usual tear and a smile , just sneers and bile


, inexplicable and unpleasant


just ca n't take it any more


strangely schizo cartoon


to the nonconformist in us all


femme fatale offers nothing more than a bait-and-switch that is beyond playing fair with the audience .


, narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve .


your first instinct is to duck


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


pulling the plug on the conspirators and averting an american-russian armageddon


's so poorly made , on all levels , that it does n't even qualify as a spoof of such


too literally


lost the politics and the social observation


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


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


overrides what little we learn along the way about vicarious redemption


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


the finest kind


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


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


a delicious and delicately funny look at the residents of a copenhagen neighborhood coping with the befuddling complications life tosses at them .


certainly an entertaining ride , despite many talky , slow scenes


for a story set at sea , ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises . '


i know i should n't have laughed , but hey , those farts got to my inner nine-year-old


a more balanced or fair portrayal of both sides


squandering his opportunity to make absurdist observations , burns gets caught up in the rush of slapstick thoroughfare .


low , smoky and inviting sizzle


which 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


the perfect movie many have made it out to be


too narrow to attract crossover viewers


until it veered off too far into the exxon zone , and left me behind at the station looking for a return ticket to realism


is still quite good-natured and


philippe , who makes oliver far more interesting than the character 's lines would suggest , and


improved


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


happens that tells you there is no sense


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


from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud


starting with spielberg and going right through the ranks of the players -- on-camera and off -- that he brings together


of deja vu


revigorates


banality


what saves it ... and makes it


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


a thoughtful , emotional movie experience


provides a satisfyingly unsettling ride


it was n't horrible either


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


the film is old-fashioned , occasionally charming and as subtle as boldface .


just about more stately than any contemporary movie this year


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


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


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


been 13 months and 295 preview screenings


filmed the opera exactly as the libretto directs , ideally capturing the opera 's drama and lyricism


suspenseful enough for older kids but


a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish


they are what makes it worth the trip to the theater .


the bodily function jokes are about what you 'd expect ,


thanks to its cast , its cuisine and its quirky tunes


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


a funny yet dark and


's probably worth catching solely on its visual merits


absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man


watching the chemistry between freeman and judd , however , almost makes this movie worth seeing .


noble endeavor


buoyant energy level


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


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


plodding , peevish and gimmicky


like crap


impressive and highly entertaining celebration


a slight and uninventive movie


a bland , obnoxious 88-minute infomercial for universal studios and its ancillary products ...


you bask in your own cleverness as you figure it out


as thought-provoking


as unusually and unimpressively fussy


asks the right questions


i 've seen some bad singer-turned actors , but lil bow wow takes the cake .


a buoyant romantic comedy about friendship , love , and the truth that we 're all in this together


a successful adaptation and an enjoyable film in its own right


followed by the bad idea


has managed to marry science fiction with film noir and action flicks with philosophical inquiry


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


me want to bolt the theater in the first 10 minutes


familiar but enjoyable


it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .


on the evidence before us , the answer is clear : not easily and , in the end , not well enough .


especially the pseudo-educational stuff we all ca n't stand


that made mamet 's `` house of games '' and last fall 's `` heist '' so much fun


masterful work


eccentric and good-naturedly aimless story


the same way that jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects


at the mercy of its inventiveness


would be hard-pressed to find a movie with a bigger , fatter heart than barbershop


observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism


where the characters inhabit that special annex of hell where adults behave like kids , children behave like adults and everyone


plot contrivances


it 's not really funny


how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?


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


tricky and satisfying


worth


about the santa clause 2 , purportedly a children 's movie ,


accuse kung pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie


a cross between blow and boyz n the hood , this movie strives to be more , but does n't quite get there .


is good at being the ultra-violent gangster wannabe


and it 's what makes their project so interesting


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


shows its indie tatters and self-conscious seams in places


surprisingly charming and


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


such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls '' and last year 's `` rollerball


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


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


suffocating and sometimes almost senseless


it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast


looking at his 12th oscar nomination by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary


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


avoid the ghetto of sentimental chick-flicks


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


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


flat effort


be swept away by the sheer beauty of his images


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


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


what makes it worth the trip to the theater


the most purely enjoyable and satisfying evenings


magic and is enjoyable family fare .


at once visceral and spiritual , wonderfully vulgar and sublimely lofty


a teenybopper ed wood film , replete with the pubescent scandalous innuendo


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


will lead when given the opportunity


entertaining and , ultimately , more perceptive moment


heroes would be a film that is n't this painfully forced , false and fabricated


celebrate


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


into such fresh territory


that its story just is n't worth telling


dull , simple-minded and stereotypical tale


evokes the frustration , the awkwardness and the euphoria of growing up , without relying on the usual tropes .


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


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


ongoing - and unprecedented -


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


is more depressing than entertaining


remake andrei tarkovsky 's solaris so much as distill it


sharp , amusing study


last orders nurtures the multi-layers of its characters , allowing us to remember that life 's ultimately a gamble and last orders are to be embraced .


that does n't offer any insight into why , for instance , good things happen to bad people


is a dud -- a romantic comedy that 's not the least bit romantic and only mildly funny


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


, contemplative , and sublimely beautiful .


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


groan and


amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and


be made by african-americans because of its broad racial insensitivity towards african-americans


those unassuming films that sneaks up on you and stays with you long after you have left the theater


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


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


you wo n't be able to look away for a second


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


4ever has the same sledgehammer appeal as pokemon videos ,


instantly forgettable and


hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny


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


it 's nice to see piscopo again after all these years , and chaykin and headly are priceless


the ingenious construction ( adapted by david hare from michael cunningham 's novel )


well-defined


of the finest


that what we have here is a load of clams left in the broiling sun for a good three days


quite tasty and inviting all the same


in hero worship


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


sell us on this twisted love story


existentialism reminding of the discovery of the wizard of god


relegated to the background -- a welcome step forward from the sally jesse raphael atmosphere of films like philadelphia and american beauty


farewell-to-innocence movies


waydowntown may not be an important movie , or even a good one ,


the action here is unusually tame


-- and disposable story


going through the motions


it throws quirky characters , odd situations , and off-kilter dialogue at us , all as if to say , `` look at this !


are easy to swallow thanks to remarkable performances by ferrera and ontiveros


( has ) an immediacy and an intimacy that sucks you in and dares you not to believe it


that it makes my big fat greek wedding look like an apartheid drama


warm , fuzzy feeling


is darkly funny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work .


needs mind-bending drugs when they can see this , the final part of the ` qatsi ' trilogy , directed by godfrey reggio , with music by philip glass ?


does n't really know or care about the characters , and uses them as markers for a series of preordained events


offers some flashy twists and turns that occasionally fortify this turgid fable .


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


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


birthday girl is the kind of quirkily appealing minor movie she might not make for a while


when the fire burns out , we 've only come face-to-face with a couple dragons


such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls '' and last year 's `` rollerball . ''


although what time offers tsai 's usual style and themes , it has a more colorful , more playful tone than his other films .


improves upon the original hit movie


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


're - doing-it-for - the-cash


stock footage


deeply biased , and


got ten little indians meets friday the 13th by way of clean and sober , filmed on the set of carpenter 's the thing and loaded with actors you 're most likely to find on the next inevitable incarnation of the love boat


you expect and often surprises you with unexpected comedy


even a story immersed in love , lust , and sin could n't keep my attention


has its heart ( and its palate )


steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology .


does an impressive job of relating the complicated history of the war and of filling in the background .


good ideas


war


's good-natured and sometimes quite funny


loud , brash and mainly unfunny


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


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


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


like watching an alfred hitchcock movie after drinking twelve beers


really , really good


as the movie dragged on


both the beauty of the land and the people


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


you have figured out the con and the players in this debut film by argentine director fabian bielinsky


anti-semitism and neo-fascism


it appears not to have been edited at all


... gets vivid performances from her cast and pulls off some deft ally mcbeal-style fantasy sequences .


a keep - 'em - guessing plot and an affectionate take on its screwed-up characters .


bluer than the atlantic and more biologically detailed than an autopsy , the movie ... is , also , frequently hilarious .


it will certainly succeed in alienating most viewers


applies more detail to the film 's music than to the story line


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


some fairly unsettling scenes


a thoughtful , reverent portrait of what is essentially a subculture , with its own rules regarding love and family , governance and hierarchy .


omits


tripe


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


a poetic


borrows a bit from the classics `` wait until dark '' and `` extremities '' ... but in terms of its style , the movie is in a class by itself


tries to work in the same vein as the brilliance of animal house but instead comes closer to the failure of the third revenge of the nerds sequel .


with fewer deliberate laughs , more inadvertent ones and stunningly trite songs


listless and desultory


a delightful , if minor , pastry


a gamble and last orders are to be embraced


pleasant but not


of the qualities that made the first film so special


that would have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd


get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos


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


brooding and slow


stale plot and pornographic way


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


's icky


addition to gluing you to the edge of your seat


replaced with morph , a cute alien creature who mimics everyone and everything around


intimidated by both her subject matter


without bestowing the subject with the intelligence or sincerity it unequivocally deserves


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


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


draws on an elegant visual sense and a talent


subtlest and most complexly evil uncle ralph


too crude to serve the work especially well


director claude chabrol


is hindered by uneven dialogue and plot lapses


as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil ' bow wow


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


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


take on a striking new significance for anyone who sees the film


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


that do n't care about being stupid


the film is not only a love song to the movies but


capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries


engrossing and different


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


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


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


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


remarkable and


where bergman approaches swedish fatalism using gary larson 's far side humor


disintegrates


does justice both to stevenson and to the sci-fi genre


is so slight


fashioning an engrossing entertainment out of an almost sure-fire prescription for a critical and commercial disaster


it the darling of many a kids-and-family-oriented cable channel


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


i must have failed


contains a few big laughs but many more that graze the funny bone or miss it altogether , in part because the consciously dumbed-down approach wears thin


it takes your breath away


are simultaneously buried , drowned and smothered in the excesses of writer-director roger avary


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


a certain charm


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


tully is 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 .


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


its questionable satirical ambivalence


both the beauty


wastes its time on mood


is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut


all awkward , static


clever and funny


a film that are still looking for a common through-line


that my enjoyment came at the expense of seeing justice served , even if it 's a dish that 's best served cold


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


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


as tricky and satisfying as any of david mamet 's airless cinematic shell games .


our best achievements and other times


too much kid-vid


tries to grab us , only to keep letting go at all the wrong moments


given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors ' workshop that it is .


whose derring-do puts the x into the games


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


paved with good intentions leads to the video store


's fun , splashy and entertainingly nasty


brilliantly written and well-acted


keep the story subtle and us in suspense


all the way to the credits


, more time appears to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else .


horrifyingly , ever


wondering what all that jazz was about `` chicago '' in 2002


i am highly amused by the idea that we have come to a point in society where it has been deemed important enough to make a film in which someone has to be hired to portray richard dawson .


one of its strengths


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


improved upon the first and taken it a step further , richer and deeper


his own preoccupations and obsessions


the story ... is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is .


hits its mark


throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


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


are telegraphed in the most blithe exchanges gives the film its lingering tug


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


just plain


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


is n't that funny


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


's plotless , shapeless


all its excess debris


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


graphic sex may be what 's attracting audiences to unfaithful , but gripping performances by lane and gere are what will keep them awake


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


all its strange quirks


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


sights


like mike is n't going to make box office money that makes michael jordan jealous , but it has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) - with nothing but net


if you do n't understand what on earth is going on


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


directed it may leave you speaking in tongues


well paced and satisfying little drama


a subtle and richly internalized performance


like coming into a long-running , well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .


touches the heart and the funnybone thanks to the energetic and always surprising performance


detailing


songbird britney spears has popped up with more mindless drivel


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


, what makes the movie fresh


a blair witch - style adventure that plays like a bad soap opera , with passable performances from everyone in the cast


is derivative


taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving


pitifully


defeated the film ... it was the unfulfilling , incongruous , `` wait a second


delightfully charming -- and


by taylor 's cartoonish performance and the film 's ill-considered notion


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


to be influenced chiefly by humanity 's greatest shame , reality shows -- reality shows for god 's sake !


refreshes the mind and spirit


keenly observed and refreshingly natural


to inhale this gutter romancer 's secondhand material


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


depict a homosexual relationship in a mature and frank fashion


is worthwhile for reminding us that this sort of thing does , in fact , still happen in america


abandon


a sincerely crafted picture


has far more energy , wit and warmth than should be expected from any movie with a `` 2 '' at the end of its title .


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


deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf


makes no sense


this ` we 're - doing-it-for - the-cash ' sequel


that there is nothing distinguishing in a randall wallace film


but still quite tasty and inviting all the same


though frida is easier to swallow than julie taymor 's preposterous titus , the eye candy here lacks considerable brio .


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


runs on the pure adrenalin


does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances


ron howard 's apollo 13 in the imax format


devastatingly powerful and astonishingly vivid holocaust drama


, the film is blazingly alive and admirable on many levels .


cheap , graceless , hackneyed sci-fi serials


the pushiness and decibel volume


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


telegraphs every discovery and layers on the gloss of convenience .


exit the theater


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


nothing distinguishing


poorly staged


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 .


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


even if the naipaul original remains the real masterpiece


if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances .


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


of its characters , its protagonist , or of us


the pleasure of his sounds and images


may have made a great saturday night live sketch , but a great movie it is not


poignant and funny


's not entirely memorable


, intelligent eyes


rival


to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable


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


entirely believable


is n't embarrassed to make you reach for the tissues


that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an


a ripping good yarn


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


a depressingly retrograde , ` post-feminist ' romantic comedy that takes an astonishingly condescending attitude toward women


the whole package


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


it 's still damn funny stuff


is a gory slash-fest


little more than a particularly slanted , gay s/m fantasy , enervating and deadeningly drawn-out


relied too much


its dying


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


screenwriter dan schneider and director shawn levy substitute volume and primary colors for humor and bite .


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


, it 's a very very strong `` b + . ''


the slightly flawed ( and fairly unbelievable ) finale ,


a compelling french psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart


despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks


legendary actor michel serrault


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


is unashamedly pro-serbian and makes little attempt to give voice to the other side .


familiar , fairly uneventful and boasting no real surprises -- but still quite tasty and inviting all the same


confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation


losin ' his fan base


to regain his life , his dignity and his music


a fascinating , bombshell documentary that should shame americans , regardless of whether or not ultimate blame finally lies with kissinger .


often play like a milquetoast movie of the week blown up for the big screen


expressive


`` looking for leonard '' just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .


humor about itself , a playful spirit and a game cast


this cinema verite speculation on the assassination of john f. kennedy may have been inspired by blair witch , but it takes its techniques into such fresh territory that the film never feels derivative


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


appropriate ferocity and thoughtfulness


sleekness


that it appears not to have been edited at all


rhapsodic


self-deprecating


directing with a sure and measured hand


hallmark commercial


talky films


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


loneliest dark spots


its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis


oscar wilde 's classic satire


a first-class road movie that proves you can run away from home , but your ego and all your problems go with you


- she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff


brings to the role her pale , dark beauty and characteristic warmth


forgotten 10 minutes


colors the picture in some evocative shades


the buoyant energy level


that tries to grab us , only to keep letting go at all the wrong moments


find ourselves surprised at how much we care about the story


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


remarkable amount


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


mr. caine and mr. fraser are the whole show here , with their memorable and resourceful performances .


fat


the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .


that even a story immersed in love , lust , and sin could n't keep my attention


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


disastrous


manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor


loses sight of its own story


elevate `` glory '' above most of its ilk


's worth taking the kids to


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


into the extraordinarily rich landscape


grotesquely


meager


a deftly entertaining film , smartly played and smartly directed .


all its flaws


elegant technology for the masses --


as crisp and to the point


across its indulgent two-hour-and-fifteen-minute length


in unexpected ways , touching


toss logic and science


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


if you really want to understand what this story is really all about , you 're far better served by the source material .


plodding picture


love , family and


awe-inspiring visual poetry


will leave you wondering about the characters ' lives after the clever credits roll


let you bask in your own cleverness as you figure it out


regret


can only point the way -- but thank goodness for this signpost


lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile , is a towering siren .


sweet home abomination


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


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


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


why spend $ 9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?


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


to kill michael myers for good : stop buying tickets to these movies


a movie that will thrill you , touch you and make you laugh as well .


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


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


gaining most of its unsettling force from the suggested and the unknown


left on a remote shelf


avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style


sometimes makes less sense than the bruckheimeresque american action flicks it emulates .


a terrific insider look at the star-making machinery of tinseltown .


been lost in the translation


vibrant whirlwind


as fresh or enjoyable


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


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


could young romantics out on a date


of quiet desperation


ultimately empty


an unsolved murder and an unresolved moral conflict jockey for the spotlight


a saga of the ups and downs of friendships


the best thing about the movie is its personable , amusing cast .


plain old


grievous but obscure


when the explosions start , they fall to pieces


than one might expect when you look at the list of movies starring ice-t in a major role


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


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


not good


a crescendo that encompasses many more paths than we started with


in the immediate aftermath of the terrorist attacks


she 's pretty


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


be well worth your time


eschews the previous film 's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension


everything was as superficial as the forced new jersey lowbrow accent uma had .


predecessors the mummy and the mummy returns stand as intellectual masterpieces next to the scorpion king .


that it transcends the normal divisions between fiction and nonfiction film


of the most multilayered and sympathetic female characters of the year


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


in terms of its style , the movie is in a class by itself


her petite frame and vulnerable persona emphasising her plight and isolation


mad


at how much we care about the story


take the viewer inside the wave


of race and culture forcefully told , with superb performances throughout


be growing


serves as a painful elegy and sobering cautionary tale


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


relationship and


, standard disney animated fare , with enough creative energy and wit to entertain all ages .


delicious and


is n't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery


you 've already seen city by the sea under a variety of titles


of the filmmakers who have directed him , especially the coen brothers and steven soderbergh


comes


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


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


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


utterly forgettable


white oleander may leave you rolling your eyes in the dark , but that does n't mean you wo n't like looking at it


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


to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd


brilliantly written and well-acted , yellow asphalt is an uncompromising film .


is just lazy writing .


an intelligent screenplay and


just the labor involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing .


and resourceful hero


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


the obnoxious special effects , the obligatory outbursts of flatulence and the incessant , so-five-minutes-ago pop music on the soundtrack


deeply unsettling experience


emphasizes the well-wrought story and omits needless chase scenes and swordfights as the revenge unfolds .


payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .


presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale


has been replaced by the bottom of the barrel


engaging despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks


too many flashbacks


enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins


barely defensible sexual violence


a remarkably cohesive whole , both visually and thematically


that tries to be smart


... the story , like ravel 's bolero , builds to a crescendo that encompasses many more paths than we started with .


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


of tastelessness and gall


well , jason 's gone to manhattan and hell , i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger ) .


slightly sunbaked and summery mind , sex and


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


sweet home alabama certainly wo n't be remembered as one of ( witherspoon 's ) better films .


richard pryor mined his personal horrors and came up with a treasure chest of material ,


that could so easily have been fumbled by a lesser filmmaker


all the same problems the majority of action comedies have


walked the delicate tightrope between farcical and loathsome


a raison d'etre that 's as fresh-faced as its young-guns cast


some good material


`` white oleander , '' the movie , is akin to a reader 's digest condensed version of the source material .


kim ki-deok 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 .


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


surprisingly


the film fails to fulfill its own ambitious goals


an exhilarating new interpretation in morvern callar


even the stuffiest cinema goers


lost in the translation


sexy , peculiar and always entertaining costume drama


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


looked like as a low-budget series on a uhf channel


there 's some outrageously creative action in the transporter ... ( b ) ut by the time frank parachutes down onto a moving truck


beautifully crafted and


the attraction between these two marginal characters is complex from the start -- and , refreshingly , stays that way .


a college story that works even without vulgarity , sex scenes , and cussing !


what great cinema can really do


is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises


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


smart-aleck


makes sense , with its unbelievable naïveté and arbitrary flashbacks


the most purely enjoyable and satisfying evenings at the movies


this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy .


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


good measure


lil bow wow takes the cake


rooting for the film


more than another `` best man '' clone by weaving a theme throughout this funny film


odoriferous thing ...


the cast ... keeps this pretty watchable , and casting mick jagger as director of the escort service was inspired .


classic moral-condundrum drama : what would you have done to survive ?


he makes sure the salton sea works the way a good noir should , keeping it tight and nasty


vividly 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 .


nothing more than an hour-and-a-half-long commercial for britney 's latest album


dated and unfunny


say it 's on par with the first one


, intermittently powerful study


hmmm


uses his usual modus operandi of crucifixion


a moving story of determination and the human spirit


( grant ) goes beyond his usual fluttering and stammering and captures the soul of a man in pain who gradually comes to recognize it and deal with it .


is smart and entirely charming


it 's supposed to feel funny and light


is sentimental but feels free to offend , is analytical and then surrenders to the illogic of its characters , is about grief and yet permits laughter


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


fresh and raw like a blown-out vein , narc takes a walking-dead , cop-flick subgenre and beats new life into it .


suspenseful enough for older kids but not too scary


great to look at , and funny


one good idea


the problematic characters and overly convenient plot twists


please not only the fanatical adherents on either side , but also people who know nothing about the subject


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


move away from his usual bumbling , tongue-tied screen persona


's no conversion effort


that perfectly captures the wonders and worries of childhood


they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes


so many red herrings , so many false scares


wondering -- sometimes amusedly , sometimes impatiently -- just what this strenuously unconventional movie is supposed to be


borstal boy represents the worst kind of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy .


business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you had n't seen


an overly familiar scenario is made fresh by an intelligent screenplay and gripping performances in this low-budget , video-shot , debut indie effort .


wasted like deniro 's once promising career and the once grand long beach boardwalk


to say the least , not to mention inappropriate and wildly undeserved


, taut , piercing and feisty


between being wickedly funny and just plain wicked


michael moore 's bowling for columbine rekindles the muckraking , soul-searching spirit of the ` are we a sick society ? '


is equally hackneyed


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


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


modestly made


more complete than indecent proposal


this rich and luscious


remains utterly satisfied to remain the same throughout


comedies to hit the screen in years


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


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


elling never gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry .


playing the obvious game


, nothing good can happen


are some fairly unsettling scenes


beautifully reclaiming the story of carmen and


, the film , directed by joel zwick , is heartfelt and hilarious in ways you ca n't fake .


can almost see mendes and company getting together before a single frame had been shot and collectively vowing , ` this is going to be something really good


lilo & stitch '' is n't the most edgy piece of disney animation to hit the silver screen


one decent performance from the cast and


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


more time appears to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else .


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


is so bad that i even caught the gum stuck under my seat trying to sneak out of the theater


usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails


overall the halloween series has lost its edge


safe as to often play like a milquetoast movie of the week blown up for the big screen


live happily


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


improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor


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


this movie , a certain scene in particular , brought me uncomfortably close to losing my lunch .


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


acted by diane lane and richard gere .


that it makes edward burns ' sidewalks of new york look like oscar wilde


fails in making this character understandable , in getting under her skin , in exploring motivation ... well before the end


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


left the theater


got the wildly popular vin diesel in the equation


the film shows signs that someone other than the director got into the editing room and tried to improve things by making the movie go faster .


a movie that takes such a speedy swan dive from `` promising ''


ultimately lifeless


what makes this film special


feels contrived , as if the filmmakers were worried the story would n't work without all those gimmicks


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


found the ring moderately absorbing , largely for its elegantly colorful look and sound


gasping at its visual delights


sappiness


an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .


hastily written


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


wrapped up in the characters , how they make their choices , and why


if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd


some people march to the beat of a different drum , and if you ever wondered what kind of houses those people live in , this documentary takes a look at 5 alternative housing options


does n't offer any insight into why , for instance , good things happen to bad people


not only of one man 's quest to be president , but of how that man single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department


to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents


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


its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes


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


a weak and ineffective ghost story


the dark


weak and strong


waters it down ,


into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear


deft and subtle


a film you will never forget -- that you should never forget


things really get weird , though not particularly scary


... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


several uninteresting , unlikeable people do bad things to and with each other in `` unfaithful . ''


photographed and staged by mendes with a series of riveting set pieces the likes of which mainstream audiences have rarely seen


should have been the ultimate imax trip


well to cram earplugs


does its predecessors proud .


deftly captures the wise-beyond-her-years teen


boasting some of the most poorly staged and lit action in memory , impostor is as close as you can get to an imitation movie .


a relaxed firth displays impeccable comic skill


wasting away inside unnecessary films like legally blonde and sweet home abomination


from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed


two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs


stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish


the attempt to complicate the story only defies credibility


false and fabricated


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


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


because we 've seen ( eddie ) murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed


designed to fill time , providing no real sense of suspense


transforms that reality into a lyrical and celebratory vision


disguise the fact


by bad luck and their own immaturity


exhilarating place


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


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


a more colorful , more playful tone


instead comes far closer than many movies to expressing the way many of us live -- someplace between consuming self-absorption and insistently demanding otherness .


hugely entertaining and


a searing , epic treatment of a nationwide blight that seems to be , horrifyingly , ever on the rise .


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


the stills might make a nice coffee table book


a random series of collected gags , pranks , pratfalls , dares , injuries , etc .


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


just offensive


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


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


the stunt-hungry dimwits


the only thing `` swept away '' is the one hour and thirty-three minutes spent watching this waste of time .


nothing


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


that is filled with raw emotions conveying despair and love


a whole lot of fun and funny in the middle , though somewhat less hard-hitting


guy gets girl


, the film ascends to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside .


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


enormous


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


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


in the tiny events that could make a person who has lived her life half-asleep suddenly wake up and take notice


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


some major alterations


a plodding teen remake that 's so mechanical you can smell the grease on the plot


's what makes it worth a recommendation


vibrant , colorful , semimusical rendition


reverberates throughout this film , whose meaning and impact is sadly heightened by current world events


never having seen the first two films in the series , i ca n't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days


in the mood for an intelligent weepy


, love , duty and friendship


watch , giggle and get an adrenaline boost without feeling like you 've completely lowered your entertainment standards


trying to cope with the mysterious and brutal nature of adults


spain


could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay


with the cliché-laden screenplay


clumsy dialogue , heavy-handed phoney-feeling sentiment , and an overly-familiar set


by a weak script that ca n't support the epic treatment


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


wildly overproduced , inadequately motivated every step of the way


a positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder


what the audience feels is exhaustion , from watching a movie that is dark ( dark green , to be exact ) , sour , bloody and mean .


the plot ( other than its one good idea ) and the movie 's inescapable air of sleaziness


's not funny


character portrait , romantic comedy and beat-the-clock thriller


's a shame that the storyline and its underlying themes ... finally seem so impersonal or even shallow


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


inadequately motivated


soderbergh skims the fat from the 1972 film .


ultimately satisfying


what 's missing is what we call the ` wow ' factor .


particularly joyless , and exceedingly dull


are more compelling than the execution


amusing and unsettling


, fits the bill perfectly


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


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


( dong ) makes a valiant effort to understand everyone 's point of view , and


can easily be considered career-best performances


instantly forgettable


upsetting and thought-provoking


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


, juwanna mann is even more ludicrous than you 'd expect from the guy-in-a-dress genre


filled with raw emotions


where the characters ' moves are often more predictable than their consequences


does somehow manage to get you under its spell


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


its plot contrivances


hampered by its predictable plot and paper-thin supporting characters


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


does an impressive job of relating the complicated history of the war and


just a waste


the chateau has one very funny joke and a few other decent ones


it can easily worm its way into your heart . '


of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand


is standard crime drama fare ... instantly forgettable and thoroughly dull


he has at least one more story to tell : his own .


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


waste their time on it


of sexy intrigue


singing and finger


( a ) satisfying niblet


colorful , energetic and sweetly whimsical


with his usual intelligence and subtlety


enlightening , insightful and entertaining


praises female self-sacrifice


the week blown up for the big screen


to provide the pleasures of a slightly naughty , just-above-average off - broadway play


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


scratching your head in amazement over the fact that so many talented people could participate in such an


by its smallness


though it 's told with sharp ears and eyes for the tenor of the times


the finest films


innocence and idealism


by the time the credits roll across the pat ending


a stiff


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


even the corniest and


beautifully crafted and brutally honest


the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and


it 's not clear whether we 're supposed to shriek


ash wednesday is not edward burns ' best film , but it is a good and ambitious film


horrible pains


no one involved , save dash , shows the slightest aptitude for acting , and the script , credited to director abdul malik abbott and ernest ` tron ' anderson , seems entirely improvised


really solid performances by ving rhames and wesley snipes


if they broke out into elaborate choreography , singing and finger snapping it might have held my attention , but as it stands i kept looking for the last exit from brooklyn .


bad sound


is made fresh by an intelligent screenplay and gripping performances in this low-budget , video-shot , debut indie effort .


for the uninitiated plays better on video with the sound


return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market


that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful


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


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


wildly uneven movie


a sweet and modest and


to accommodate to fit in and gain the unconditional love she seeks


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


funny and , in the end ,


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


like its parade of predecessors , this halloween is a gory slash-fest .


watching this film , what we feel is n't mainly suspense or excitement .


seem barely in the same movie


rotten in almost every single facet of production that you 'll want to crawl up your own *** in embarrassment


the movie itself appears to be running on hypertime in reverse as the truly funny bits get further and further apart .


psychologically


paul bettany is good at being the ultra-violent gangster wannabe ,


terrible events


music and life


it was only made for teenage boys and wrestling fans


this quiet , introspective and entertaining independent is worth seeking .


buckaroo


pure disney


a funny yet dark and seedy clash of cultures and generations


hugely enjoyable


( fincher 's ) camera sense and assured pacing make it an above-average thriller .


has the chops of a smart-aleck film school brat and the imagination of a big kid


( it 's ) what punk rock music used to be , and what the video medium could use more of : spirit , perception , conviction


brilliantly written and


from burkina faso


its usual worst


in its chicken heart


just ca n't tear himself away from the characters


to create images you wish you had n't seen


i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale -- you wo n't be sorry !


, sum up the strange horror of life in the new millennium


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


hollywood has taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff .


broad racial insensitivity


delivers a terrific performance in this fascinating portrait of a modern lothario


someone other than the director got into the editing room and tried to improve things by making the movie go faster


most slyly exquisite


a smart , sassy and exceptionally charming romantic comedy


for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .


paranoid and unlikable


... belinsky is still able to create an engaging story that keeps you guessing at almost every turn .


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


eager fans


there is a certain sense of experimentation and improvisation to this film that may not always work , but it is nevertheless compelling .


that chirpy songbird britney spears has popped up with more mindless drivel .


freshness and modesty


cannon 's confidence and laid-back good spirits are , with the drumming routines , among the film 's saving graces .


characteristically startling visual style


compelling dramatic


imagine the cleanflicks version of ` love story , ' with ali macgraw 's profanities replaced by romance-novel platitudes .


sixties ' rockumentary milestones


's really little more than a particularly slanted , gay s/m fantasy , enervating and deadeningly drawn-out


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


faulty


ramsay and morton fill this character study with poetic force and buoyant feeling .


resurrecting performers who rarely work in movies now ...


that it also makes her appear foolish and shallow rather than , as was more likely ,


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


it 's good enough to be the purr


is the action as gripping


has you fixating on a far corner of the screen at times because your nerves just ca n't take it any more


aspires to be more than another `` best man '' clone by weaving a theme throughout this funny film


with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare .


far more alienating than involving


there 's something unintentionally comic in the film 's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties .


like


is n't particularly funny


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


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


in its observation of just how much more grueling and time-consuming the illusion of work is than actual work


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


this unique and entertaining twist


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


from seeing former nymphette juliette lewis playing a salt-of-the-earth mommy named minnie and watching slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell


the pleasures of a slightly naughty , just-above-average off - broadway play


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


's the perfect star vehicle for grant , allowing him to finally move away from his usual bumbling , tongue-tied screen persona .


swung me around


to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving


that revives the free-wheeling noir spirit of old french cinema


shows its indie tatters and self-conscious seams in places ,


the unthinkable , the unacceptable , the unmentionable


, the movie is powerful and provocative .


presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier


irrelevant as on the engaging , which gradually turns what


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


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


reef


... hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny .


on ugly digital video


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


is no doubt true


as those monologues stretch on and on


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


creates a drama with such a well-defined sense of place and age -- as in , 15 years old -- that the torments and angst become almost as operatic to us as they are to her characters .


ultimately , the film amounts to being lectured to by tech-geeks , if you 're up for that sort of thing .


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


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


was a deserved co-winner of the audience award for documentaries at the sundance film festival


disguise 24/7


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


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


it picked me up , swung me around , and dropped me back in my seat with more emotional force than any other recent film .


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


petty thievery


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


her good looks


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


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


remarkable for its excellent storytelling , its economical , compressed characterisations and for its profound humanity


ultra-violent


old world war


loses its sense of humor in a vat of failed jokes , twitchy acting , and general boorishness


surrounding us with hyper-artificiality


's not enough substance here to sustain interest for the full 90 minutes , especially with the weak payoff


authentically vague


portray its literarily talented and notorious subject as anything much more than a dirty old man


, steven soderbergh 's space opera emerges as a numbingly dull experience .


, wit and warmth than should be expected from any movie with a `` 2 '' at the end of its title .


made fresh by an intelligent screenplay and gripping performances in this low-budget , video-shot , debut indie effort


is rote work and predictable


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


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


merges his collaborators ' symbolic images with his words , insinuating , for example , that in hollywood , only god speaks to the press


grow boring ...


short-story quaint


filmed on the set of carpenter 's the thing and loaded with actors you 're most likely to find on the next inevitable incarnation of the love boat


trash cinema


it 's all arty and jazzy and people 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


answered


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


into its intriguing subject


's as rude and profane as ever , always hilarious and , most of the time , absolutely right in her stinging social observations .


one would be hard-pressed to find a movie with a bigger , fatter heart than barbershop .


is shallow , offensive and redundant


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


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


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


clarity and audacity


a far bigger , far more meaningful story than one


horrid little propaganda film with fascinating connections not only to the serbs themselves but also to a network of american right-wing extremists .


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


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


an impenetrable and insufferable ball of pseudo-philosophic twaddle .


bogus spiritualism


grievous but obscure complaint


repeated


resolutely unamusing


lovely and amazing is holofcener 's deep , uncompromising curtsy to women she knows , and very likely is .


something on crummy-looking videotape


generates little narrative momentum , and invites unflattering comparisons to other installments in the ryan series


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


brooding


makes the grade as tawdry trash


some of the characters die and others do n't , and the film pretends that those living have learned some sort of lesson


by the end of the flick , you 're on the edge of your seat


to look at or understand


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


love it ...


while the humor is recognizably plympton , he has actually bothered to construct a real story this time .


all the interesting developments


to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller '


aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness


are fleshed-out enough to build any interest


( t ) he script is n't up to the level of the direction , nor are the uneven performances by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent .


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


it lacks the compassion , good-natured humor and the level of insight that made ( eyre 's ) first film something of a sleeper success .


, the screenplay by billy ray and terry george leaves something to be desired .


weak and ineffective


revisionist fancy


the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic


steeped in mystery and a ravishing , baroque beauty


pray has really done his subject justice .


affectionately goofy satire


low-budget series


capitalizes on this concept and opts for the breezy and amateurish feel of an after school special on the subject of tolerance


, the movie possesses its own languorous charm .


remarkably accessible and haunting film


let 's see , a haunted house , a haunted ship , what 's next ... ghost blimp ?


's a satisfying summer blockbuster and worth a look


above the run-of-the-mill singles blender


is losing his touch


maddeningly insistent and repetitive


, e.t. is still a cinematic touchstone .


it is n't very good


that will thrill you , touch you and make you


as its own most damning censure


lacks the spirit of the previous two , and


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


uniquely sensual


like its script , which nurses plot holes gaping enough to pilot an entire olympic swim team through


a bit exploitative but also nicely done , morally alert and street-smart


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


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


more revealing , more emotional


a bit exploitative but also nicely done ,


the drama was so uninspiring that even a story immersed in love , lust , and sin could n't keep my attention .


a coming-of-age story and cautionary parable , but also a perfectly rendered period piece


this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines .


's neither original nor terribly funny


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


a very distinctive sensibility , working to develop her own film language with conspicuous success


you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you


is nothing compared to the movie 's contrived , lame screenplay and listless direction


imperfect ?


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


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


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


exhibits the shallow sensationalism characteristic of soap opera ...


this is the kind of subject matter that could so easily have been fumbled by a lesser filmmaker , but ayres makes the right choices at every turn


needless chase scenes and swordfights as the revenge unfolds


a documentary to disregard available bias


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


doubtful this listless feature will win him any new viewers


but the 2002 film does n't really believe in it , and breaks the mood with absurdly inappropriate ` comedy ' scenes .


barf


clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .


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


for good


a very distinctive sensibility ,


the movie 's messages are quite admirable ,


informative ,


so bland and utterly forgettable that it might as well have been titled generic jennifer lopez romantic comedy .


is that caruso takes an atypically hypnotic approach to a world that 's often handled in fast-edit , hopped-up fashion


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


murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed


treads old turf like a hippopotamus ballerina


donovan ... squanders his main asset , jackie chan , and fumbles the vital action sequences .


the best actors there is


the actors are simply too good


a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .


're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid .


is tepid and tedious


this movie just goes on and on and on and on


beautifully crafted and cooly unsettling ...


ensues when brash young men set out to conquer the online world with laptops , cell phones and sketchy business plans


a solid , spooky entertainment worthy of the price of a ticket


hopkins


feel more like a non-stop cry for attention , than an attempt at any kind of satisfying entertainment


, songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .


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


as violent , profane and exploitative as the most offensive action flick you 've ever seen .


based on the wonderful acting clinic put on by spader and gyllenhaal


most entertaining bonds


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


dampened by a lackluster script and substandard performances


recite bland police procedural details , fiennes wanders around


a graceful , moving tribute


the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .


of more self-absorbed women than the mother and daughters featured in this film


ate


the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive .


all about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .


merely crassly flamboyant


distinctly sub-par


digs beyond the usual portrayals of good kids and bad seeds to reveal a more ambivalent set of characters and motivations


written


impeccable sense


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


most gloriously unsubtle and adrenalized extreme


the only thing to fear about `` fear dot com '' is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film .


about the film , which very simply sets out to entertain and ends up delivering in good measure


two fine actors , morgan freeman and ashley judd


it was so endlessly , grotesquely , inventive


a glorious spectacle like those d.w. griffith made in the early days of silent film


a dearth of vitality and a story that 's shapeless and uninflected


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


lurks just below the proceedings and


is pretty much the same all over


is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces


you feel genuinely good


taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff


relaxed in its perfect quiet pace and


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


the molehill


just brilliant in this


change hackneyed concepts when it comes to dreaming up romantic comedies


a stylish cast and


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


for all its visual panache and compelling supporting characters , the heart of the film rests in the relationship between sullivan and his son .


in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast


too much of the movie feels contrived , as if the filmmakers were worried the story would n't work without all those gimmicks .


old bad trip


puts a human face on derrida , and makes one of the great minds of our times interesting and accessible


when all is said and done , she loves them to pieces -- and


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


the picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life , but also acknowledging the places , and the people , from whence you came


by a gritty style and an excellent cast


do n't say you were n't warned


warmth and


for some major alterations


episodic choppiness , undermining the story 's emotional thrust


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


the right bands for the playlist and the costuming of the stars


director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?


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


required genuine acting from ms. spears


there 's nothing very attractive about this movie


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


beautifully realized


colorful , energetic and sweetly whimsical ... the rare sequel that 's better than its predecessor


more diverting and thought-provoking


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


hackneyed concepts


paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .


tailor-made for those who when they were in high school would choose the cliff-notes over reading a full-length classic


make the film 's conclusion powerful and satisfying


vastly entertaining


chen films the resolutely downbeat smokers only with every indulgent , indie trick in the book .


by not averting his eyes , solondz forces us to consider the unthinkable , the unacceptable , the unmentionable .


our most flamboyant female comics


only obscure the message


accompanying the stunt-hungry dimwits in a random series of collected gags , pranks , pratfalls , dares , injuries , etc .


's not scary , not smart and not engaging


may be disappointed .


surrealist flourishes


the movie spends more time with schneider than with newcomer mcadams , even though her performance is more interesting ( and funnier ) than his .


welles groupie/scholar peter bogdanovich took a long time to do it , but he 's finally provided his own broadside at publishing giant william randolph hearst


new release


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


the leads are so unmemorable , despite several attempts at lengthy dialogue scenes , that one eventually resents having to inhale this gutter romancer 's secondhand material .


, this movie just goes on and on and on and on


great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s


, unlike those in moulin rouge , are crisp and purposeful without overdoing it


been there , done that ... a thousand times already , and better


a glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism .


, amusing , tender and heart-wrenching


disney scrape the bottom of its own cracker barrel


is just the point


stooping to base melodrama


illuminates what it means sometimes to be inside looking out , and at other times outside looking in


gratingly unfunny


wastes its time on mood rather than riding with the inherent absurdity of ganesh 's rise up the social ladder .


appreciation


top japanese animations


the sometimes murky , always brooding look of i


is even more ludicrous than you 'd expect from the guy-in-a-dress genre


a breathtakingly assured and stylish work


( the kid 's ) just too bratty for sympathy , and as the film grows to its finale , his little changes ring hollow


faster , livelier and a good deal funnier than his original


exceptionally good


it 's a sit down and ponder affair


wrong with a comedy where the only belly laughs come from the selection of outtakes tacked onto the end credits


the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .


the château 's balance of whimsicality , narrative discipline and serious improvisation


violent , vulgar and forgettably entertaining


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


hugely enjoyable in its own right though not really faithful to its source 's complexity


weird and wonderful


have made vittorio de sica proud


their hearts in the right place


however sincere it may be , the rising place never quite justifies its own existence .


fresh or enjoyable


fool


serenity and poise


are not to be dismissed .


it 's hard to believe these jokers are supposed to have pulled off four similar kidnappings before .


dullard


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


makes up for in drama , suspense , revenge , and romance


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


stay for the credits and see a devastating comic impersonation by dustin hoffman that is revelatory


living far too much


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


well-acted , well-directed and , for all its moodiness , not too


bypassing no opportunity to trivialize the material


is nicely shot , well-edited and features a standout performance by diane lane


would be terrific to read about


to share his story so compellingly with us is a minor miracle


's something unintentionally comic in the film 's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties .


integrates thoughtfulness and pasta-fagioli comedy


's as rude and profane as ever , always hilarious and , most of the time , absolutely right


that come by once in a while with flawless amounts of acting , direction , story and pace


struck me as unusually and unimpressively fussy and


from its nauseating spinning credits sequence to a very talented but underutilized supporting cast , bartleby squanders as much as it gives out .


all bluster


game of absurd plot twists , idiotic court maneuvers and stupid characters


frustrates and captivates


some of the characters die and others do n't , and the film pretends that those living have learned some sort of lesson , and , really ,


from the screenplay , but rather the mediocre performances


's loud and boring


as the shabby digital photography


adorably ditsy but


i spied with my little eye ... a mediocre collection of cookie-cutter action scenes and occasionally inspired dialogue bits


for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and


superficial treatment


its own meager weight


uniquely itself


has the stuff to stand tall with pryor , carlin and murphy


the film is impressive for the sights and sounds of the wondrous beats the world has to offer .


hugely enjoyable in its own right though not really faithful


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


richly entertaining and suggestive


best


a sad and rote exercise in milking a played-out idea -- a straight guy has to dress up in drag -- that shockingly manages to be even worse than its title


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


someone made off with your wallet


raised to a new , self-deprecating level


even the digressions are funny .


annoying score


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


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


jacquot 's strategy 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 .


excellent performances from jacqueline bisset and martha plimpton grace this deeply touching melodrama .


of perversity , comedy and romance


newcastle , the first half of gangster no. 1 drips with style and , at times , blood


honesty and respect


sparking debate and encouraging thought


disappoint


suffers from its timid parsing of the barn-side target of sons trying to breach gaps in their relationships with their fathers .


sometimes charming , sometimes infuriating , this argentinean ` dramedy ' succeeds mainly on the shoulders of its actors .


hanging


, the hours is one of those reputedly `` unfilmable '' novels that has bucked the odds to emerge as an exquisite motion picture in its own right .


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


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


a film with almost as many delights for adults as there are for children and dog lovers .


rich and full life


should have ditched the artsy pretensions and revelled in the entertaining shallows


a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for


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


painfully foolish in trying to hold onto what 's left of his passe ' chopsocky glory


you are curious to see the darker side of what 's going on with young tv actors ( dawson leery did what ?!? ) , or see some interesting storytelling devices


characteristically startling visual style and an almost palpable sense of intensity


the charm of the first movie is still there , and the story feels like the logical , unforced continuation of the careers of a pair of spy kids


but tongue-in-cheek preposterousness has always been part of for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and parker 's creative interference ...


extraordinarily talented


glued to the screen


manages to be compelling , amusing and unsettling at the same time


founders on its own preciousness -- and squanders its beautiful women


get on television


wonderful film to bring to imax


it 's petty thievery like this that puts flimsy flicks like this behind bars


twinkly-eyed


complex ,


go the distance


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


strangely tempting


loses all


denied her own athleticism by lighting that emphasizes every line and sag .


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


clever ideas and


improves on it ,


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


strangely impersonal and abstract


was so uninspiring that even a story immersed in love , lust , and sin could n't keep my attention .


, who approaches his difficult , endless work with remarkable serenity and discipline .


's still terrible !


a hip-hop fan to appreciate scratch


is a film about the irksome , tiresome nature of complacency that remains utterly satisfied to remain the same throughout


thrill you , touch you and make you


's what makes their project so interesting


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


most enchanting


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


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


once the expectation of laughter has been quashed by whatever obscenity is at hand , even the funniest idea is n't funny .


likeable thanks to its cast , its cuisine and its quirky tunes