is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .


surprisingly charming


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


very compelling , sensitive , intelligent and


easy to swallow thanks to remarkable performances by ferrera and ontiveros


its chosen topic


once ice-t sticks his mug in the window of the couple 's bmw and begins haranguing the wife in bad stage dialogue


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


its screenplay serves as auto-critique , and its clumsiness as its own most damning censure .


all the usual spielberg flair


in entertaining


its paint fights , motorized scooter chases


still eludes madonna and , playing a charmless witch


as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels ,


as its uncanny tale of love , communal discord , and justice


, the score is too insistent


the run-of-the-mill singles blender


be intriguing


the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama , '


sporadic bursts of liveliness , some so-so slapstick and a few ear-pleasing songs on its soundtrack


delicious , quirky movie


bad bear suits


down the reality drain


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


it 's also not very good .


rollicking good time


impressive for the sights and sounds of the wondrous beats


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


sketchy


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


ever such a dependable concept was botched in execution


needs more impressionistic cinematography and exhilarating point-of-view shots and fewer slow-motion ` grandeur ' shots and quick-cut edits that often detract from the athleticism .


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


return to never land is reliable , standard disney animated fare , with enough creative energy and wit to entertain all ages .


'd bother watching past the second commercial break


, there 's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .


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


seems content to dog-paddle in the mediocre end of the pool ,


strange


is bright and flashy


are funny


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


, slow and dreary


informative and breathtakingly spectacular


it 's a bad action movie because there 's no rooting interest and the spectacle is grotesque and boring .


degrading and


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


relative modesty


freeman ca n't save it


examine , the interior lives of the characters in his film , much less


criticism


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


borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own


the film desperately sinks further and further into comedy futility .


help be entertained by the sight of someone getting away with something


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


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


a good thing


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


seat


's the worst movie of 2002


healthy eccentric inspiration and ambition


gross


some strong supporting players


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


from terry gilliam 's subconscious , pressed through kafka 's meat grinder and into buñuel 's casings


a film you will never forget


sometimes improbable story


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


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


about one in three gags in white 's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook


colorful , energetic and sweetly whimsical ...


a boring masquerade ball where normally good actors , even kingsley , are made to look bad .


spinning a web of dazzling entertainment may be overstating it ,


... while dark water is n't a complete wash ( no pun intended ) , watched side-by-side with ringu , it ultimately comes off as a pale successor .


to consider the unthinkable , the unacceptable , the unmentionable


of an allegedly inspiring and easily marketable flick


spreads itself too thin


fast-paced contemporary society


comes across as darkly funny , energetic , and surprisingly gentle


from laughing at the ridiculous dialog or the oh-so convenient plot twists


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


too much norma rae and not enough pretty woman


does n't have enough vices to merit its 103-minute length


offers absolutely nothing i had n't already seen .


please fans of chris fuhrman 's posthumously published cult novel


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


fun-loving libertine


is powerful and revelatory


the murk of its own making


like to skip but film buffs should get to know


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


forces us to consider the unthinkable , the unacceptable , the unmentionable


where uptight , middle class bores like antonia can feel good about themselves


sounds like a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy


following your dream


there will be plenty of female audience members drooling over michael idemoto as michael


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


in its own way , rabbit-proof fence is a quest story as grand as the lord of the rings


sharply comic


mark it takes an abrupt turn into glucose sentimentality and laughable contrivance


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


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


both a detective story and a romance spiced with the intrigue of academic skullduggery and politics .


manage to get you under its spell


well-acted


sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions


methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it 's so successful at lodging itself in the brain .


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


smart and taut


pulls no punches in its depiction of the lives of the papin sister and the events that led to their notorious rise to infamy ...


encounter in a place where war has savaged the lives and liberties of the poor and the dispossessed .


of the most gloriously unsubtle and adrenalized extreme


probably the best case for christianity since chesterton and lewis


it does n't work .


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


, without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision


a subtle , humorous , illuminating study of politics , power and social mobility


, not as gloriously flippant as lock , stock and two smoking barrels ,


match their own creations for pure venality -- that 's giving it the old college try


i 'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap cliché


as the most offensive action


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


is phenomenal , especially the women


that not only blockbusters pollute the summer movie pool


good enough to be the purr


a film so willing to champion the fallibility of the human heart


fun or energy


challenging or depressing


while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii .


a simply astounding cor-blimey-luv-a-duck cockney accent


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


potentially good


a well paced and satisfying little drama that deserved better than a ` direct-to-video ' release


a not-so-divine secrets


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


the chatter


something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense


the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself


the lazy material and the finished product 's unshapely look


fits the bill perfectly


parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast


genuinely enthusiastic performances


engrossing story


suffers from unlikable characters and a self-conscious sense of its own quirky hipness


's low on both suspense and payoff


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


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


it more than adequately fills the eyes and stirs the emotions


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


's not very good either .


than a leaky freighter


a powerful 1957 drama we 've somehow never seen before


a perfect example of rancid , well-intentioned , but shamelessly manipulative movie making


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


director hoffman , with great help from kevin kline , makes us care about this latest reincarnation of the world 's greatest teacher


take the warning literally


disparate funny moments


hart 's war seems to want to be a character study , but apparently ca n't quite decide which character .


beautifully shot , delicately scored and powered by a set of heartfelt performances , it 's a lyrical endeavor .


is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph


disgracefully


run-of-the-mill disney sequel


watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media


opportunity to make absurdist observations


get in the way


beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce ... lies a plot cobbled together from largely flat and uncreative moments .


a good chance of being the big


a visual spectacle full of stunning images and effects


very charming and funny


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


energy and geniality


really an advantage to invest such subtlety and warmth in an animatronic bear when the humans are acting like puppets


often shocking but ultimately worthwhile exploration


disturbance


julie davis is the kathie lee gifford of film directors , sadly proving once again ego does n't always go hand in hand with talent .


just lazy


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


( lee ) treats his audience the same way that jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects .


at the end that extravagantly redeems it


daringly perceptive , taut , piercing and feisty , biggie and tupac is undeniably subversive and involving in its bold presentation .


real women have curves wears its empowerment on its sleeve


his contradictory , self-hating , self-destructive ways


surprisingly sensitive


such high-wattage brainpower coupled with pitch-perfect acting and an exquisite , unfakable sense of cinema


too good


an incredibly thoughtful , deeply meditative picture that neatly and effectively captures the debilitating grief felt in the immediate aftermath of the terrorist attacks .


melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements


that even freeman ca n't save it


's really nothing more than warmed-over cold war paranoia


of the ultimate scorsese film


disreputable doings and exquisite trappings are dampened by a lackluster script and substandard performances .


surprisingly charming and even witty


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


this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .


satisfyingly scarifying , fresh and old-fashioned at the same time


bale reduced mainly to batting his sensitive eyelids


filled with honest performances and exceptional detail , baran is a gentle film with dramatic punch , a haunting ode to humanity .


this tale has been told and retold ; the races and rackets change , but the song remains the same .


victim to sloppy plotting , an insultingly unbelievable final act and


give strong and convincing performances


see the forest for the trees


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


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


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


screenwriter dan schneider and director shawn levy


dull , simple-minded and stereotypical


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


plain bad


since ghostbusters


, singing and finger snapping it might have held my attention , but as it stands i kept looking for the last exit from brooklyn .


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


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


is entertaining on an inferior level


explosive physical energy and convincing intelligence


resents having to inhale this gutter romancer 's secondhand material


were it not for the striking , quietly vulnerable personality of ms. ambrose


an emotionally satisfying exploration


about intelligent high school


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


a skillfully assembled , highly polished and professional adaptation ...


follow the same blueprint from hundreds of other films


deftly executed


paved with good intentions leads to the video store ''


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


be wholesome and subversive at the same time


will thrill you , touch you and make you


seem tired and ,


a funny and touching film


surprisingly sweet and gentle


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


is the only winner


, relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft .


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


is still quite good-natured


a sub-formulaic slap in the face


put a lump in your throat while reaffirming washington as possibly the best actor working in movies today


rediscovers


with its shape-shifting perils , political intrigue and brushes


the sheer dumbness of the plot ( other than its one good idea ) and the movie 's inescapable air of sleaziness get you down .


is funny , touching , smart and complicated


mel


's because the laughs come from fairly basic comedic constructs


it 's mildly interesting to ponder the peculiar american style of justice that plays out here ,


irritating ( at least to this western ear ) , making it awfully hard to buy the impetus for the complicated love triangle that develops between the three central characters


ramsay is clearly extraordinarily talented , and based on three short films and two features , here 's betting her third feature will be something to behold


it 's sweet , funny , charming , and completely delightful .


epps has neither the charisma nor the natural affability that has made tucker a star .


slightly flawed ( and fairly unbelievable ) finale


an odd drama set in the world of lingerie models and bar dancers in the midwest that held my interest precisely because it did n't try to .


his difficult , endless work with remarkable serenity and discipline


impenetrable and insufferable ball


to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them


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


makes it worth the trip to the theater


klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed .


finds the ideal outlet for his flick-knife diction in the role of roger swanson


to dog-paddle in the mediocre end of the pool


because the genre is well established , what makes the movie fresh


disappointing in comparison to other recent war movies ... or any other john woo flick for that matter


is still a cinematic touchstone


of joy and energy


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


to lessen the overall impact the movie could have had


being attempted here that stubbornly refused to gel


like the rugrats movies , the wild thornberrys movie does n't offer much more than the series , but its emphasis on caring for animals and respecting other cultures is particularly welcome


here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip


that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen


such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls ''


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


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


avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates


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


toward keeping the picture compelling


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


deadpan cool , wry humor and just the measure


land , people and narrative flow together in a stark portrait of motherhood deferred and desire explored .


crafted , and well


every suspenseful cliché in the book


in spite of featuring a script credited to no fewer than five writers , apparently nobody here bothered to check it twice .


mr. spielberg and his company just want you to enjoy yourselves without feeling conned .


it 's a wise and powerful tale of race and culture forcefully told , with superb performances throughout .


tiresomely derivative and hammily acted .


as rude and profane as ever , always hilarious and , most of the time ,


becomes more and more frustrating as the film goes on


the predictable parent vs. child coming-of-age theme


its true-to-life characters , its sensitive acting , its unadorned view of rural life


just the right tone


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


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


cinematic poetry showcases the city 's old-world charm before machines change nearly everything .


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


illustrates why the whole is so often less than the sum of its parts in today 's hollywood


it offers hope


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


their place in the world


of a witty expose on the banality and hypocrisy of too much kid-vid


she 's pretty and


the annoyance


energetic and engaging film


the broiling sun


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


of the most ravaging , gut-wrenching , frightening war scenes since `` saving private ryan ''


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


that helps make great marching bands half the fun of college football games


ultimately too repellent to fully endear itself to american art house audiences , but it is notable for its stylistic austerity and forcefulness .


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


like a prison stretch


gorgeous to look at but insufferably tedious and turgid ...


examines crane 's decline with unblinking candor .


can analyze this movie in three words : thumbs friggin ' down


its rawness and vitality


has about 3/4th the fun of its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity


to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists


the immersive powers of the giant screen and its hyper-realistic images are put to perfect use in the breathtakingly beautiful outer-space documentary space station 3d .


dreamy and evocative


that ` alabama ' manages to be pleasant in spite of its predictability


rumblings


were made by a highly gifted 12-year-old instead of a grown man


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


that excites the imagination and tickles the funny bone


what 's most offensive is n't the waste of a good cast , but the film 's denial of sincere grief and mourning in favor of bogus spiritualism .


spectators will indeed sit open-mouthed before the screen , not screaming but yawning .


sub-formulaic slap


the growing , moldering pile


some futile concoction that was developed hastily after oedekerk


allows his cast the benefit of being able to give full performances


real-life strongman ahola lacks the charisma and ability to carry the film on his admittedly broad shoulders .


although ... visually striking and slickly staged , it 's also cold , gray , antiseptic and emotionally desiccated .


the longest 90 minutes


begin 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


run-of-the-mill singles blender


laughing at the ridiculous dialog or the oh-so convenient plot twists


the all-too-familiar dramatic arc


's not only dull because we 've seen ( eddie ) murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed


deeply satisfying


a retread story , bad writing , and


strange and beautiful film


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


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


but the film itself is ultimately quite unengaging .


suitably kooky which should appeal to women and they strip down often enough to keep men alert , if not amused


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


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


come away from his film overwhelmed , hopeful and , perhaps paradoxically , illuminated


a compelling yarn , but not quite a ripping one .


it looks good , sonny ,


treated to an impressive and highly entertaining celebration of its sounds


seems to have ransacked every old world war ii movie for overly familiar material


not good enough


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


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


is not only a pianist , but a good human being


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


swims in mediocrity , sticking its head up for a breath of fresh air now and then .


it 's relentlessly folksy , a procession of stagy set pieces stacked with binary oppositions


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


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


a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography


beautifully made


its unsettling prognosis


beautifully read and , finally ,


stale , futile scenario .


not smart


quirky , charming


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


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


in many ways a conventional , even predictable remake


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


imitations


takes you by the face , strokes your cheeks and coos beseechingly at you :


suitably kooky which should appeal to women and


manipulative claptrap , a period-piece movie-of-the-week , plain old blarney ...


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


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


has its redundancies


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


actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode


leave


is just lazy writing


spider invasion comic chiller


enough sweet and


life that 's very different from our own and yet instantly recognizable


store for unwary viewers


it 's not entirely memorable


creates an impeccable sense of place


it 's still a comic book , but maguire makes it a comic book with soul


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


-- more revealing , more emotional and more surprising --


deeply and rightly


petty


they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes


, mr. nelson has made a film that is an undeniably worthy and devastating experience .


uninvolving storytelling


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


here relies less on forced air than on petter næss ' delicate , clever direction ... and a wonderful , imaginative script by axel hellstenius .


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


huppert and girardot give performances of exceptional honesty .


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


coupling disgracefully written dialogue with flailing bodily movements that substitute for acting , circuit is the awkwardly paced soap opera-ish story .


saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory


but because it has a bigger-name cast , it gets a full theatrical release


spiritual film taps into the meaning and consolation in afterlife communications


has no point and


improved upon the first and


spectacularly ugly-looking broad


to get at the root psychology of this film would require many sessions on the couch of dr. freud .


fill this character study with poetic force and buoyant feeling


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


i have always appreciated a smartly written motion picture , and


inquisitive


that between the son and his wife , and the wife and the father , and between the two brothers ,


adaptation 's success in engaging the audience in the travails of creating a screenplay is extraordinary .


from blushing to gushing -- imamura squirts the screen in ` warm water under a red bridge '


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


too smug


still fun and enjoyable


hip


's old-fashioned in all the best possible ways


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


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


cinematic fluidity and sense


... in trying to capture the novel 's deeper intimate resonances , the film has -- ironically - distanced us from the characters .


a return to pure disney magic and is enjoyable family fare .


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


combining heated sexuality with a haunting sense of malaise


the kind of insouciance embedded in the sexy demise of james dean


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


happens when something goes bump in the night and nobody cares ?


all the best possible ways


savory and


refreshingly smart and newfangled


, manipulative


becomes more and more frustrating


's so poorly


with strange and wonderful creatures


into a lyrical and celebratory vision


cuteness


an impeccable study in perversity .


resolutely downbeat


there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but like most movie riddles , it works only if you have an interest in the characters you see .


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


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


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


than to change hackneyed concepts when it comes to dreaming up romantic comedies


ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour


improvised on a day-to-day basis during production


a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work


seems to have been ` it 's just a kids ' flick


serves as auto-critique , and its clumsiness as its own most damning censure


into an emotionally satisfying exploration of the very human need


a passionately inquisitive film determined to uncover the truth and hopefully inspire action .


a delightful entree in the tradition


a dazzling , remarkably unpretentious reminder of what ( evans ) had , lost , and got back


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


, nuanced


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


knows everything and answers all questions , is visually smart , cleverly written ,


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


impersonal


compassion , sacrifice , and christian love


the drama discloses almost nothing .


get the same love story and parable


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


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


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


offers an unexpected window into the complexities of the middle east struggle and into the humanity of its people


most offensive


by on angelina jolie 's surprising flair for self-deprecating comedy


with sharp ears and eyes


macabre


that held my interest precisely because it did n't try to


the huskies are beautiful , the border collie is funny and the overall feeling is genial and decent


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


talkiness is n't necessarily bad


satisfies -- from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation


a rounded and revealing overview


a thoughtful and rewarding glimpse


seem smug and cartoonish


winner


sets out to entertain and ends up delivering in good measure


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


amused and entertained by the unfolding of bielinsky 's


very simply sets out to entertain and ends up delivering in good measure


keep the story compelling


been forced by his kids to watch too many barney videos


their lack of chemistry makes eddie murphy and robert deniro in showtime look like old , familiar vaudeville partners


's something else altogether -- clownish and offensive and nothing at all like real life


, the journey does n't really go anywhere .


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


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


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


to our basest desires


that 's what makes it worth a recommendation


historically significant , and personal


elegantly appointed period drama


remains fairly light , always entertaining , and smartly written


lacks the visual panache , the comic touch , and perhaps the budget of sommers 's title-bout features


a miraculous movie , i 'm going home is so slight , yet overflows with wisdom and emotion .


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


historically significant


to gluing you to the edge of your seat


is sordid and disgusting


a more graceful way of portraying the devastation of this disease


begins to vaporize from your memory minutes after it ends


the scorpion king more than ably


's very different from our own and yet instantly recognizable


because of its music or comic antics , but through the perverse pleasure of watching disney scrape the bottom of its own cracker barrel


allows nothing


a remarkably original work


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


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


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


of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes


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


right questions


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


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


occasionally very enjoyable


, mesmerizing


in its own direction


does n't try to surprise us with plot twists , but rather seems to enjoy its own transparency


bigger


deeply biased ,


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 , nobody in the viewing audience cares


irwin and his director never come up with an adequate reason why we should pay money for what we can get on television for free .


funny and touching


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


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


sucking you in ... and making you sweat


foul substances


stretches of impact and moments


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


can be viewed as pure composition and form --


, charming and quirky


japan 's wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman ...


-- even more damning --


a story which fails to rise above its disgusting source material .


two guys yelling in your face for two hours


charming and funny


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


its broad racial insensitivity


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


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


is very choppy and monosyllabic despite the fact


the dispassionate gantz brothers


is n't always coherent


involved in creating the layered richness of the imagery in this chiaroscuro of madness and light


to ultimately disappoint the action


it 's also not smart or barbed enough for older viewers


that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself


, marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .


devotees of star trek ii : the wrath of khan will feel a nagging sense of deja vu


gets around to its real emotional business


burn the negative and the script


sayles ... once again strands his superb performers in the same old story .


, that 'll be much funnier than anything in the film ...


peppering this urban study with references to norwegian folktales , villeneuve creates in maelstrom a world where the bizarre is credible and the real turns magical .


buck or


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


full of the kind of obnoxious


from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron


long for the end credits


low , smoky and inviting


as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses .


thoughtful screenplay


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


an intelligent screenplay and gripping performances


proves tiresome


this woefully hackneyed movie


incredibly captivating and


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


on its own staggeringly unoriginal terms


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


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


give shapiro , goldman , and bolado credit for good intentions , but there 's nothing here that they could n't have done in half an hour


, i found myself strangely moved by even the corniest and most hackneyed contrivances .


work the words `` radical '' or `` suck ''


concludes with the crisp clarity of a fall dawn


is an action film that delivers on the promise of excitement


spectacularly well


directs this film always keeping the balance between the fantastic and the believable


director paul cox 's unorthodox , abstract approach to visualizing nijinsky 's diaries is both stimulating and demanding .


the film never feels derivative


lost in the translation this time


as stomach-turning as the way adam sandler 's new movie rapes


... tara reid plays a college journalist , but she looks like the six-time winner of the miss hawaiian tropic pageant , so i do n't know what she 's doing in here ...


been smoother or more confident


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


distaste


, the film operates nicely off the element of surprise ,


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


an engaging and moving portrait


that leaves vague impressions and a nasty aftertaste but little clear memory of its operational mechanics


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


more chaotic than entertaining


ugly and


whose legacy had begun to bronze


misguided project


of its plot contrivances


it 's easy to love robin tunney -- she 's pretty and she can act --


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


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


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


it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life


the rich promise of the script will be realized on the screen


secondhand , familiar -- and not in a good way


one more dumb high school comedy about sex gags and prom dates


deserves an oscar nomination


thoughtful and surprisingly affecting portrait


faith , love and power


powerhouse


probably the most good-hearted yet sensual entertainment


smart and dark - hallelujah for small favors


admire it and yet can not recommend it , because it overstays its natural running time .


, the tuxedo does n't add up to a whole lot .


tale


good and ambitious film


genuinely good


what little grace ( rifkin 's ) tale of precarious skid-row dignity achieves


created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores


perfectly captures the wonders and worries of childhood


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


moving moments and an intelligent subtlety


the exploitative , clumsily staged violence overshadows everything , including most of the actors .


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


bouncy score


its and pieces of the hot chick are so hilarious , and schneider 's performance is so fine , it 's a real shame that so much of the movie -- again , as in the animal -- is a slapdash mess .


between flaccid satire and what


's a mindless action flick with a twist -- far better suited to video-viewing than the multiplex


well-developed


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


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


under the skin of a man we only know as an evil , monstrous lunatic


what happens when something goes bump in the night and nobody cares ?


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


directions and descends into such message-mongering moralism that its good qualities are obscured


a colorful , joyous celebration of life ; a tapestry woven of romance , dancing , singing , and unforgettable characters


claustrophic , suffocating and chilly


never lets go your emotions , taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving .


jumps around with little logic or continuity , presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier


intelligent screenplay


but believe it or not , it 's one of the most beautiful , evocative works i 've seen .


( breheny 's ) lensing of the new zealand and cook island locations captures both the beauty of the land and the people .


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


explosive physical energy and


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


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


lost dreams


leave it


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


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


enjoy on a certain level


'm not sure these words have ever been together in the same sentence


creativity , and fearlessness


's really an exercise in gross romanticization of the delusional personality type


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


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


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


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


in the wrong hands , i.e. peploe 's , it 's simply unbearable


genial


's no way you wo n't be talking about the film once you exit the theater


's also too stupid to realize that they 've already seen this exact same movie a hundred times


cuba gooding jr. valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy


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


rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative


gets the look and the period trappings right


delightfully charming -- and totally american


so uncool the only thing missing is the `` gadzooks ! ''


unique


deeply biased , and wholly designed to make you feel guilty about ignoring what the filmmakers clearly believe


completely forgettable


may not be particularly innovative


nor truly edgy -- merely crassly flamboyant and comedically labored


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


take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead


taylor 's cartoonish performance and


long on twinkly-eyed close-ups and short


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


burning


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


the whole affair , true story or not , feels incredibly hokey ... ( it ) comes off like a hallmark commercial


everything else about it is straight from the saturday morning cartoons -- a retread story , bad writing , and the same old silliness


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


plotting and mindless action


a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people


the courage of its convictions and excellent performances on its side


collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension


bad imitation


's so devoid of joy and energy it makes even jason x ... look positively shakesperean by comparison


he shows and empathizes with the victims he reveals


old-fashioned , occasionally charming and as subtle


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


this every-joke-has - been-told-a


of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall


too damn weird to pass up , and for the blacklight crowd , way cheaper ( and better ) than pink floyd tickets .


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


forget the psychology 101 study of romantic obsession and just watch the procession of costumes in castles and this wo n't seem like such a bore .


baffling mixed platter


brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life 's harshness .


love it , too


which very simply sets out to entertain and ends up delivering in good measure


the slow parade


that 's where this film should have remained


contemptible imitator


's more repetition than creativity throughout the movie


and intermittently hilarious


imaginatively


's not clear


fails on its own


a gem


a shallow rumination on the emptiness of success


all the story gives us is flashing red lights , a rattling noise , and a bump on the head


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


discursive


absolutely , inescapably gorgeous , skyscraper-trapeze motion


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


bring fresh good looks and an ease in front of the camera to the work .


a reasonably good time with the salton sea


it is supremely unfunny and unentertaining to watch middle-age


beautifully detailed performances


less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .


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


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


it 's too much syrup and not enough fizz


familiar , funny


of strong voices


into a gut-wrenching examination of the way cultural differences and emotional expectations collide


watching war photographer , you come to believe that nachtwey hates the wars he shows and empathizes with the victims he reveals .


strangely funny


joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy


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


just about more stately than any contemporary movie this year ...


they will have a showdown , but , by then , your senses are as mushy as peas and you do n't care who fires the winning shot


there 's no real sense of suspense , and none of the plot ` surprises ' are really surprising


low on both suspense and payoff


rumor , a muddled drama about coming to terms with death , feels impersonal , almost generic .


the thought of watching this film with an audience full of teenagers fixating on its body humor and reinforcement of stereotypes ( of which they 'll get plenty )


the fine line between cheese and earnestness remarkably well


my big fat greek wedding is a non-stop funny feast of warmth , color and cringe .


static set ups , not much camera movement ,


all the more disquieting for its relatively gore-free allusions to the serial murders , but it falls down in its attempts to humanize its subject .


it 's exactly the kind of movie toback 's detractors always accuse him of making .


have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies


begins to fade from memory


warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message .


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


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


hot


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


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


broad streaks of common sense


avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type


it makes most of what passes for sex in the movies look like cheap hysterics


all the more compelling


the 3-d vistas from orbit , with the space station suspended like a huge set of wind chimes over the great blue globe ,


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


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


i 've never seen or heard anything quite like this film ,


keep you wide awake and ...


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


the cliché-riddled genre


agreeably startling


keep the movie from ever reaching the comic heights it obviously desired


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


dips key moments from the film in waking life water colors


, poorly structured


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 .


of director abel ferrara


that encompasses many more paths than we started with


like the work of someone


leave you wanting to abandon the theater


anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb


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


fake documentary


inimitable


would count for very little if the movie were n't as beautifully shaped and as delicately calibrated in tone as it is


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


its own rules regarding love and family , governance and hierarchy


gripping , amusing , tender and heart-wrenching


follow the stale , standard , connect-the-dots storyline which has become commonplace in movies that explore the seamy underbelly of the criminal world


gooding is the energetic frontman ,


wasted potential


sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit .


stilted and unconvincing


beautiful scene


absurd ,


hard , endearing , caring , warm .


even if the naipaul original remains the real masterpiece , the movie possesses its own languorous charm .


entertaining and , ultimately , more perceptive


audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but otherwise the production is suitably elegant .


barely registering a blip on the radar screen of 2002


is better than any summer blockbuster we had to endure last summer , and hopefully , sets the tone for a summer of good stuff


drama of temptation , salvation and good intentions is a thoughtful examination of faith , love and power .


, should n't the reality seem at least passably real ?


mental illness


( or role , or edit , or score , or anything , really )


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


realize that deep inside righteousness can be found a tough beauty


a satisfyingly unsettling ride


a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances


let the subtitles fool you


some sort of martha stewart decorating program run amok


intense and engrossing


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


its tragic waste


this odd , inexplicable and unpleasant


while this movie , by necessity , lacks fellowship 's heart


be going through the motions , beginning with the pale script


typical animé , with cheapo animation ( like saturday morning tv in the '60s ) , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names .


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


brutally honest and told with humor and poignancy , which makes its message resonate .


colorful and


wastes its time


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


it 's not very good either .


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


filming the teeming life on the reefs


a celebrated wonder in the spotlight


sharp comic timing that makes the more hackneyed elements of the film easier to digest


have ditched the artsy pretensions and revelled in the entertaining shallows


across as darkly funny , energetic , and surprisingly gentle


comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours


bright , inventive


bias


the country bears ' should never have been brought out of hibernation


a lot of their time ( including mine ) on something very inconsequential


sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act


a lovely film ... elegant , witty and beneath a prim exterior unabashedly romantic ... hugely enjoyable in its own right though not really faithful to its source 's complexity


through a dreary tract of virtually plotless meanderings


all the blanket statements and dime-store ruminations on vanity


written , flatly , by david kendall and directed , barely , by there 's something about mary co-writer ed decter .


it 's unlikely we 'll see a better thriller this year .


a finely tuned mood


intense and engrossing head-trip


it 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 .


's an enthusiastic charm in fire that makes the formula fresh again


though this rude and crude film does deliver a few gut-busting laughs , its digs at modern society are all things we 've seen before .


in artful , watery tones of blue , green and brown


bad romances


a chafing inner loneliness and desperate grandiosity


come from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron .


is dreary and sluggish


thrives on its taut performances and creepy atmosphere


the dv revolution has cheapened the artistry of making a film


what a bewilderingly brilliant and entertaining


to vary the pitch of his movie , balancing deafening battle scenes with quieter domestic scenes of women back home receiving war department telegrams


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


odd but ultimately satisfying


lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .


and `` terrible


annoying and


in tatters


was vile enough


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


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


is good , except its timing


slice of comedic bliss


two guys who desperately want to be quentin tarantino when they grow up


brosnan 's finest non-bondish performance


glum as mr. de niro


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


sweet , funny , charming , and completely delightful


smart jokes


's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah


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


saddled with an unwieldy cast of characters and angles


teen-driven , toilet-humor codswallop


to invest such subtlety and warmth in an animatronic bear when the humans are acting like puppets


it 's a very tasteful rock and roll movie .


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


consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire


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


forced drama in this wildly uneven movie


recommend this film more


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


that 's not scary , not smart and not engaging


( less a movie than ) an appalling , odoriferous thing ... so rotten in almost every single facet of production that you 'll want to crawl up your own *** in embarrassment .


that uses its pulpy core conceit to probe questions of attraction and interdependence


one funny popcorn


painful and refreshing


real women may have many agendas , but it also will win you over , in a big way


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


gets its greatest play


the broiling sun for a good three days


is so insanely stupid , so awful in so many ways


affirms the gifts of all involved , starting with spielberg and going right through the ranks of the players -- on-camera and off -- that he brings together .


seek and strike just the right tone


even the hastily and amateurishly


passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly ...


wild


its true-to-life characters , its sensitive acting , its unadorned view of rural life and


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


single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department


such sensitivity


just bring on the battle bots , please !


the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .


overwhelm what is left of the scruffy , dopey old hanna-barbera charm .


instantly forgettable and thoroughly dull


is amazing ,


existential exploration


realize that they 've already seen this exact same movie a hundred times


a love song to the movies


is ultimately quite unengaging


starts out mediocre , spirals downward , and thuds to the bottom of the pool with an utterly incompetent conclusion .


a frightening and compelling


shankman ... and screenwriter karen janszen bungle their way through the narrative as if it were a series of bible parables and not an actual story .


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


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


, the more outrageous bits achieve a shock-you-into-laughter intensity of almost dadaist proportions .


good action , good acting , good dialogue ,


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


looks like the six-time winner of the miss hawaiian tropic pageant , so i do n't know what she 's doing in here


some writer dude , i think his name was , uh , michael zaidan , was supposed to have like written the screenplay or something , but , dude ,


you do n't know whether to admire the film 's stately nature and call it classicism or be exasperated by a noticeable lack of pace .


director roger kumble offers just enough sweet and traditional romantic comedy to counter the crudity .


a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the point of distraction .


like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless


if you ever wanted to be an astronaut , this is the ultimate movie experience - it 's informative and breathtakingly spectacular


ferocity and thoughtfulness


japanese epic


's sweet , funny , charming , and completely delightful .


then it 's the perfect cure for insomnia .


redone for horses , with fewer deliberate laughs , more inadvertent ones and stunningly trite songs by bryan adams , the world 's most generic rock star


some buoyant human moments


gives the film its lingering tug


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


a fresh and absorbing look


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


based on dave barry 's popular book of the same name , the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .


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


remarkable for its excellent storytelling , its economical , compressed characterisations and for its profound humanity , it 's an adventure story and history lesson all in one .


on its own , it 's not very interesting .


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


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


degraded , handheld blair witch video-cam footage


brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman


best and most exciting


recommend secretary


this utterly ridiculous shaggy dog story as one of the most creative , energetic and original comedies to hit the screen in years


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


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


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


daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails


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


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


that if she had to sit through it again , she should ask for a raise


both inspiring and pure joy


, transforms that reality into a lyrical and celebratory vision


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


essentially `` fatal attraction '' remade for viewers who were in diapers when the original was released in 1987 .


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


of domestic tension and unhappiness


a treat for its depiction on not giving up on dreams when you 're a struggling nobody .


is almost an afterthought


a tour de force drama about the astonishingly pivotal role of imagination in the soulful development of two rowdy teenagers .


and mainly unfunny


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


change the channel


remarkably accessible and haunting


of those decades-spanning historical epics that strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time


it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but the result is more puzzling than unsettling .


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


the gifted crudup has the perfect face to play a handsome blank yearning to find himself , and


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


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


love liza


2-day old coke


is we never really see her esther blossom as an actress , even though her talent is supposed to be growing .


unique and entertaining


want to crawl up your own *** in embarrassment


is a canny crowd pleaser , and the last kiss ... provides more than enough sentimental catharsis for a satisfying evening at the multiplex


is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer


's an utterly static picture


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


transcends its agenda to deliver awe-inspiring , at times sublime , visuals and offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the x into the games


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


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


climactic burst


, oozing , chilling and heart-warming


is the one


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


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


90-minute postmodern voyage


might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead


seems to really care


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


got just enough charm and appealing character quirks to forgive that still serious problem


clever and subtle


thoroughly enjoyable , heartfelt


racial insensitivity


's not too bad


sometimes charming , sometimes infuriating


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


lacking substance and soul , crossroads comes up shorter than britney 's cutoffs .


loosely connected characters and


a soul-stirring documentary


is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness


herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion


its worst harangues are easy to swallow thanks to remarkable performances by ferrera and ontiveros


of laughs in this simple , sweet and romantic comedy


a smartly directed , grown-up film


luridly graphic and laughably unconvincing


slip into hokum


a fascinating , bombshell documentary that should shame americans , regardless of whether or not ultimate blame


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


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


it 's far tamer than advertised


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


a defiantly retro chord


the execution


a sweet and modest


wobbly premise work


the troubling thing about clockstoppers


, duty and friendship


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


a gratingly unfunny groaner littered with zero-dimensional , unlikable characters and hackneyed , threadbare comic setups .


look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful


jersey lowbrow accent uma


too slick and manufactured to claim street credibility .


seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves


thoroughly enjoyed themselves and believed in their small-budget film


's really so appealing about the characters


to match the freshness of the actress-producer and writer


here of a director enjoying himself immensely


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


superficial and unrealized


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


lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile ,


damn unpleasant


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


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


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


something really good


( westbrook ) makes a wonderful subject for the camera .


pauly shore awful


purely enjoyable


the movie straddles the fence between escapism and social commentary , and on both sides it falls short


of the most poorly staged and lit action in memory


god bless crudup and his aversion to taking the easy hollywood road and cashing in on his movie-star


with moments of genuine insight into the urban heart


covers this territory with wit and originality


further demonstrates just how far his storytelling skills have eroded .


dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


with results that are sometimes bracing , sometimes baffling and quite often , and in unexpected ways , touching


subtle , humorous , illuminating study


cooks conduct in a low , smoky and inviting sizzle


a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing


his oppressive , right-wing , propriety-obsessed family


appreciates the art and


just bad


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


sharp comedy , old-fashioned monster movie atmospherics ,


the film is small in scope , yet perfectly formed .


showdown


its shape-shifting perils , political intrigue


brave and challenging


even shallow


an unencouraging threefold expansion on the former mtv series , accompanying the stunt-hungry dimwits in a random series of collected gags , pranks , pratfalls , dares , injuries , etc. .


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


like the full monty , this is sure to raise audience 's spirits and leave them singing long after the credits roll .


the filmmakers just follow the books


been richer and more observant if it were less densely plotted


victim


, pranks , pratfalls , dares , injuries , etc .


far more energy


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


stooping


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


saddled with an unwieldy cast of characters and angles ,


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


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


black hawk down and we


exhilarating , funny and fun


fights


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


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


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


although largely a heavy-handed indictment of parental failings and the indifference of spanish social workers and legal system towards child abuse


is so different from the apple and so striking


-- thoughtfully written


could easily mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time


-- and at times , all my loved ones more than flirts with kitsch -- the tale commands attention .


can you bear the laughter ?


that puts another notch


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


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


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


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


simple , sweet and romantic


is how so many talented people were convinced to waste their time


it 's nice to see piscopo again after all these years ,


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


like leafing through an album of photos accompanied by the sketchiest of captions .


far bigger , far more meaningful story


attempted here that stubbornly refused to gel


perfectly pitched between comedy and tragedy , hope and despair


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


e.t. works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet .


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


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


always entertaining , and


a slight but sweet film


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


ararat is fiercely intelligent and uncommonly ambitious .


hardly an objective documentary , but it 's great cinematic polemic ... love moore or loathe him , you 've got to admire ... the intensity with which he 's willing to express his convictions


be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows


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


makes absolutely no sense


weighted down with slow , uninvolving storytelling and flat acting .


it 's an interesting effort ( particularly for jfk conspiracy nuts ) , and barry 's cold-fish act makes the experience worthwhile


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


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


disoriented but occasionally


is a welcome and heartwarming addition to the romantic comedy genre


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


the perverse pleasure of watching disney scrape the bottom of its own cracker barrel


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


in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications


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


seems content to dog-paddle in the mediocre end of the pool , and it 's a sad , sick sight


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


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


it , offering fine acting moments and pungent


in good measure


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


delighted with the fast , funny , and even touching story


makes you feel genuinely good


has not spawned a single good film


to a man whose achievements -- and complexities -- reached far beyond the end zone


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


if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure


( a ) devastatingly powerful and astonishingly vivid holocaust drama .


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


no good inside dope


nothing overly original , mind you , but solidly entertaining


like it was worth your seven bucks


painfully forced , false and fabricated


feel a nagging sense of deja vu


too violent


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


the movie 's major and most devastating flaw is its reliance on formula , though , and it 's quite enough to lessen the overall impact the movie could have had .


the evocative imagery and gentle , lapping rhythms of this film


is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects


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


a poky and pseudo-serious exercise in sham actor workshops and an affected malaise .


instead go rent `` shakes the clown '' , a much funnier film with a similar theme and an equally great robin williams performance


one look at a girl in tight pants and big tits and you turn stupid


richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .


change watching such a character , especially when rendered in as flat and


it also wrecks any chance of the movie rising above similar fare


like an extreme action-packed film


nothing special and , until the final act , nothing


you are watching them , and the slow parade of human frailty fascinates you


it 's a thin notion , repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue .


that 's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project


dramatic punch and depth


a subtle , humorous , illuminating study


the bad reviews


bean drops the ball too many times


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


of martin scorsese 's taxi driver and goodfellas


show that if you give a filmmaker an unlimited amount of phony blood , nothing good can happen


evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean


a good deal funnier than his original


amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances .


from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago


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 .


we 've seen the hippie-turned-yuppie plot before , but there 's an enthusiastic charm in fire that makes the formula fresh again


around some intriguing questions about the difference between human and android life


astonishingly skillful and moving ...


almost enough chuckles for a three-minute sketch , and no more


surprised


gut-wrenching style of joseph heller or kurt vonnegut


, the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2 - hour running time .


a warm , fuzzy feeling prevails


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


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


enjoy its slightly humorous and tender story


detract from the athleticism


'm just about ready to go to the u.n. and ask permission for a preemptive strike


really strong second effort


the usual movie rah-rah , pleasantly and predictably


sustain an enjoyable level of ridiculousness


while it evaporates like so much crypt mist in the brain


real heroism and abject suffering


one scene after another in this supposedly funny movie falls to the floor with a sickening thud .


with zoe clarke-williams 's lackluster thriller `` new best friend '' , who needs enemies ?


that is wickedly fun to watch


going out and enjoying the big-screen experience


worth your time


enough clever and unexpected


more hackneyed


just as many scenes that are lean and tough enough to fit in any modern action movie


's the element of condescension , as the filmmakers look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful


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


the queasy-stomached critic who staggered from the theater and blacked out in the lobby


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


that 's there to scare while we delight in the images


the cleverness , the weirdness and the pristine camerawork


once the expectation of laughter has been quashed by whatever obscenity is at hand


a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination


will be an enjoyable choice for younger kids .


) profound ethical and philosophical questions in the form of dazzling pop entertainment


never come up with an adequate reason why we should pay money for what we can get on television for free


it 's kind of insulting , both to men and women .


coming back to the achingly unfunny phonce and his several silly subplots


about its ideas and


enchanting ...


full well


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


much of it is funny , but there are also some startling , surrealistic moments


fails to arrive at any satisfying destination


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


there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but


the exclamation point seems to be the only bit of glee you 'll find in this dreary mess .


arnold schwarzenegger


a droll sense


everything about it from the bland songs to the colorful but flat drawings


offers us the sense that on some elemental level , lilia deeply wants to break free of her old life


the beauty and power of the opera reside primarily in the music itself


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


shot on ugly digital video .


mixing action and idiosyncratic humor in his charming 2000 debut shanghai noon


a soap-opera quality twist in the last 20 minutes ... almost puts the kibosh on what is otherwise a sumptuous work of b-movie imagination .


his beautiful , self-satisfied 22-year-old girlfriend


sexy and


historically significant work


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


within the seas of their personalities


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


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


all-around good time


wander into the dark areas of parent-child relationships without flinching


is rather pretentious


farcically


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


plodding , peevish and gimmicky .


makes less sense than the bruckheimeresque american action flicks it emulates


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


the film never feels draggy


more than adequately fills the eyes and stirs the emotions


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


think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet


its own style


it 's a compelling and horrifying story , and the laramie project is worthwhile for reminding us that this sort of thing does , in fact , still happen in america .


mr. schnitzler proves himself a deft pace master and stylist .


a sweet and sexy film


hip-hop rarely comes alive as its own fire-breathing entity in this picture .


airless , prepackaged julia roberts wannabe


'll be treated to an impressive and highly entertaining celebration of its sounds


well worth


victimized


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


terrible story


some idea of the glum , numb experience of watching o fantasma


ultimately flawed


the stunts in the tuxedo seem tired and , what 's worse , routine


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


well made but uninvolving , bloodwork is n't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery .


in white 's intermittently wise script


's got the brawn , but not the brains


a delightfully quirky movie to be made from curling


struck me as unusually and unimpressively fussy and pretentious


that this is a mormon family movie , and a sappy , preachy one at that


in genre cliches


is all over the place


suspense on different levels


its crack cast


slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell


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


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


old


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


what makes the film special


deep down , i realized the harsh reality of my situation


... director john schultz colors the picture in some evocative shades .


will still come away with a sense of his reserved but existential poignancy


keeps being cast in action films when none of them are ever any good


... the tale of her passionate , tumultuous affair with musset unfolds as sand 's masculine persona , with its love of life and beauty , takes form .


if festival in cannes nails hard - boiled hollywood argot with a bracingly nasty accuracy , much about the film , including some of its casting , is frustratingly unconvincing .


yet curiously tepid and choppy recycling in which predictability is the only winner


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


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


failing ,


filled with strange and wonderful creatures


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


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


every shot enhances the excellent performances


hear george orwell turning over


tries-so-hard-to-be-cool


swiftly deteriorates into a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell .


one-star


nicolas cage is n't the first actor to lead a group of talented friends astray , and this movie wo n't create a ruffle in what is already an erratic career .


relatively flavorless


with a `` spy kids '' sequel opening next week , why bother with a contemptible imitator starring a `` snl '' has-been acting like an 8-year-old channeling roberto benigni ?


my own tortured psyche


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


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


is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb .


a family-oriented non-disney film that is actually funny without hitting below the belt


a movie of riveting power and sadness .


the dialogue is cumbersome , the simpering soundtrack and editing more so


had the ability to mesmerize , astonish and entertain


a rollicking adventure for you and


becalmed


lazy but enjoyable


channeling kathy baker 's creepy turn as the repressed mother on boston public just as much as 8 women 's augustine


a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .


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


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


its decrepit freaks


could have turned this into an argentine retread of `` iris '' or `` american beauty , '' but instead pulls a little from each film and creates something more beautiful than either of those films


're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans


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


that neatly and effectively captures the debilitating grief


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


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


is a finely written , superbly acted offbeat thriller


allen 's funniest and most likeable movie in years .