is such a mesmerizing one


moronic as some campus


adults behave like kids


a rather brilliant little cult item : a pastiche of children 's entertainment , superhero comics , and japanese animation


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


the resolutions


of genuine excitement


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


put pillowcases over their heads for 87 minutes


an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair


in an intriguing bit of storytelling


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


highly studied


that the real antwone fisher was able to overcome his personal obstacles and become a good man is a wonderful thing ; that he has been able to share his story so compellingly with us is a minor miracle .


created a substantive movie out


too many pointless situations


are stanzas of breathtaking , awe-inspiring visual poetry


incompetent


taylor 's cartoonish performance


it might be ` easier ' to watch on video at home


's a good yarn-spinner


is predictable in the reassuring manner of a beautifully sung holiday carol


dramatically forceful , and beautifully shot


a good film


awful movie


she loves them to pieces


's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts


home alabama


disgusted


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


went over my head or -- considering just


the strength of the film lies in its two central performances by sven wollter as the stricken composer and viveka seldahl as his desperate violinist wife .


that shows what great cinema can really do


extravaganza


a ' list cast


to the bitter end


that never quite goes where you expect and often surprises you with unexpected comedy


it 's the worst movie of 2002


minor classic


as a clever exercise in neo-hitchcockianism


an attention


a downer and


be burns 's strongest film since the brothers mcmullen


has less spice than a rat burger


, but director carl franklin adds enough flourishes and freak-outs to make it entertaining .


awe and affection -- and


90-minute , four-star movie


by a sloppy script


grownups should appreciate its whimsical humor


a smart , arch and rather cold-blooded comedy .


ethereal beauty


everyone , especially movie musical fans , has been hoping for


broadcast


amy and matthew have a bit of a phony relationship


true to the essence of what it is to be ya-ya


wonder , hope and magic


possesses its own languorous charm .


a few zingers aside


like a copout


one of the smarter offerings the horror genre has produced in recent memory , even if it 's far tamer than advertised .


since its poignancy hooks us completely


is to imply terror by suggestion , rather than the overuse of special effects


offensive , waste of time , money and celluloid


a weird , arresting little ride .


sensual ,


worked


period trappings


one of the more glaring signs of this movie 's servitude to its superstar


more goodies


as boring and


deserved all the hearts it won -- and wins still , 20 years later


imagine any recent film , independent or otherwise , that makes as much of a mess as this one


just a collection of this and that -- whatever fills time -- with no unified whole


tragic )


dialogue that cuts to the chase of the modern girl 's dilemma


laugh


arliss howard 's ambitious , moving , and adventurous directorial debut ,


, enveloping affection


it squanders chan 's uniqueness ; it could even be said to squander jennifer love hewitt !


a good natured warning


the astonishingly pivotal role of imagination in the soulful development of two rowdy teenagers


a blown-out vein


the compelling historical tale


assumes that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times


misogyny


has a cinematic fluidity and sense of intelligence that makes it work more than it probably should


take an entirely stale concept and push it through the audience 's meat grinder one more time


is an ` action film ' mired in stasis .


a sugar-coated rocky


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


in clichés and mawkish dialogue


i could n't help but feel the wasted potential of this slapstick comedy .


idealism american


valentine


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


once amusing


where a masterpiece should be


an important movie


hard to make the most of a bumper


how about surprising us by trying something new ?


death to smoochy is often very funny ,


like a low-budget hybrid of scarface or carlito 's way


translation : ` we do n't need to try very hard .


like mike shoots and scores


hunky has-been


compelling and horrifying


, thoughtful , unapologetically raw


incredibly captivating and insanely funny


uneven


agonizing


that the rampantly designed equilibrium becomes a concept doofus


, sterile and lacking


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


exceedingly memorable


be viewed and treasured for its extraordinary intelligence and originality


more meaningful


the ultimate scorsese film


with the unsettling spookiness of the supernatural


the best thing i can say about this film is that i ca n't wait to see what the director does next .


a thought-provoking and often-funny drama about isolation


inventive , fun ,


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


is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors


somehow snagged an oscar nomination


the best script that besson has written in years


is n't worth telling


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


's enough cool fun here to warm the hearts of animation enthusiasts of all ages .


is that wind-in-the-hair exhilarating .


all that memorable , but as downtown saturday matinee brain


tumbleweeds


a cinematic disaster so inadvertently sidesplitting it


sweetly adventurous


fast-moving and cheerfully simplistic


engaging offbeat touches


is not easily dismissed or forgotten .


that this is n't something to be taken seriously


the hypnotic imagery and fragmentary tale


unlike trey parker , sandler does n't understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself .


but because of the startling intimacy


care about its protagonist and celebrate his victories


beautiful canvas


( carvey 's ) characters are both overplayed and exaggerated


a much funnier film with a similar theme


with the weak payoff


their idol 's energy and passion


have done a fine job of updating white 's dry wit to a new age .


elegant wit and artifice


flat as a spoof


to be a breath of fresh air


cheap , ludicrous attempt


glinting charm


scarcely worth a mention apart from reporting on the number of tumbleweeds blowing through the empty theaters graced with its company .


a pointed , often tender , examination


of scorn


will only satisfy the most emotionally malleable of filmgoers .


a big-budget/all-star movie


the film itself -- as well its delightful cast -- is so breezy


part because the consciously dumbed-down approach wears thin


he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .


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


rushed , slapdash ,


bears ... should keep parents amused with its low groan-to-guffaw ratio


disappointments


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


has its faults


and lesbian children


striking villains


gay-niche condescension


dark humor , gorgeous exterior photography , and


creative urge


a lot of problems


be post-feminist breezy


sincerely


a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .


this film is part of that delicate canon


fourth feature


is the kathie lee gifford of film directors ,


labute 's careful handling makes the material seem genuine rather than pandering .


almost wildly alive


her defiance


brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images that it emerges as another key contribution to the flowering of the south korean cinema


gives devastating testimony to both people 's capacity for evil and their heroic capacity for good .


felt trapped and with no obvious escape for the entire 100 minutes .


amazing slapstick


understated performances of ( jack nicholson 's ) career


one of the best films i have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense .


get


the talents of his top-notch creative team


that there is no rest period , no timeout


does a great combination act as narrator , jewish grandmother and subject -- taking us through a film that is part biography , part entertainment and part history


is oscar-worthy


a mystery devoid


for true fans


in this tepid genre offering


animation enthusiasts of all ages


on a striking new significance for anyone who sees the film


was only


is a movie you can trust .


a sharp script and strong performances


as a ` very sneaky ' butler who excels in the art of impossible disappearing/reappearing acts


'll feel like you ate a reeses without the peanut butter ...


might have required genuine acting from ms. spears


fully realized story


a bilingual charmer ,


a movie just for friday fans , critics be damned .


plotless collection of moronic stunts is by far the worst movie of the year .


a very capable nailbiter .


is n't much fun without the highs and lows


ultimately fails


'm sure mainstream audiences will be baffled


had a bad run in the market or a costly divorce


a depressingly retrograde


of psychopathic pulp


its and pieces of the hot chick are so hilarious ,


in fact , even better


the action is stilted and the tabloid energy embalmed


affirms the nourishing aspects of love and companionship


irritates and


his life , his dignity and his music


of extravagant


are hoping it will be , and in that sense is a movie that deserves recommendation


petter næss ' delicate , clever direction


feel like you were n't invited to the party


her cheery and tranquil suburban life


is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus


uneasy


not smart or barbed enough for older viewers


bite


consumerist ... studiously inoffensive and completely disposable


one of world cinema 's most wondrously gifted artists


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


her grace


is to say that it does n't follow the stale , standard , connect-the-dots storyline which has become commonplace in movies that explore the seamy underbelly of the criminal world


one who proves that elegance is more than tattoo deep


both lead performances are oscar-size .


takes the most unexpected material


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


tv


a devastating comic impersonation


is an interesting movie !


on crummy-looking videotape


is almost in a class with that of wilde


african american professionals


pathos-filled but ultimately life-affirming


an engrossing and infectiously enthusiastic documentary


eventual discovery


elevate


to have been conjured up only 10 minutes prior to filming


it is thought-provoking .


that relays its universal points without lectures or confrontations


sweet , charming tale


everlasting


's already a joke in the united states


the story and ensuing complications are too manipulative


consistently sensitive and


movie sputters


scream low budget


lip-reading


establishes its ominous mood and tension


cliched dialogue and perverse escapism a source of high hilarity


, there is little else to recommend `` never again . ''


embarrassingly ham-fisted sex jokes


all the trappings of an energetic , extreme-sports adventure


no amount of nostalgia for carvey 's glory days can disguise the fact that the new film is a lame kiddie flick and that carvey 's considerable talents are wasted in it .


be labeled ` hip ' , ` innovative ' and ` realistic '


of knucklehead swill


really rather special


meaning in relationships or work


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


overworked


while the importance of being earnest offers opportunities for occasional smiles and chuckles


its cheesy screenplay


toback 's deranged immediacy makes it seem fresh again .


will probably find it familiar and insufficiently cathartic


add up to a satisfying crime drama


figures prominently in this movie , and helps keep the proceedings as funny for grown-ups as for rugrats


ballsy


are very , very good reasons for certain movies


nails hard - boiled hollywood argot with a bracingly nasty accuracy


it 's a glorified sitcom , and a long , unfunny one at that .


this all works out


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


it never quite makes it to the boiling point , but manages to sustain a good simmer for most of its running time .


a case of two actors who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior


a vivid , sometimes surreal , glimpse into the mysteries of human behavior .


who 's wise enough to recognize that there are few things in this world more complex -- and , as it turns out , more fragile -- than happiness


of those films that aims to confuse


, melodrama , sorrow , laugther , and tears


trudge out of the theater feeling


an uneven look into a grim future that does n't come close to the level of intelligence and visual splendor that can be seen in other films


is as consistently engaging as it is revealing


as obnoxious as tom green 's freddie got fingered


smarter and much funnier version of the old police academy flicks .


a lot smarter and more unnerving than the sequels


a lot of warmth


has virtually nothing to show


and pulp melodrama


be thinking of 51 ways to leave this loser


made me feel unclean


of a surprisingly juvenile lark , a pop-influenced prank whose charms are immediately apparent


fail to capture its visual appeal or its atmosphere


a moving and solidly entertaining comedy/drama


an eye on preserving a sense of mystery


play like the worst kind of hollywood heart-string plucking


buoyant romantic comedy


a stirring , funny and


too shallow for an older one


brought down


to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing


old age and grief


far less endearing disabilities


strain


starts off witty and sophisticated and you want to love it -- but filmmaker yvan attal quickly writes himself into a corner .


's funny , touching , dramatically forceful , and beautifully shot .


the last days


yet feels universal


mild disturbance or detached pleasure at the acting


aground


those prone to indignation need not apply ; those susceptible to blue hilarity , step right up .


an embarrassment .


string


a disaster of a story ,


need a stronger stomach than us


without any of the pretension associated with the term


although god is great addresses interesting matters of identity and heritage , it 's hard to shake the feeling that it was intended to be a different kind of film .


tired , unnecessary


but it 's hard to imagine a more generic effort in the genre .


is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .


dull as its characters , about whose fate it is hard to care


my ribcage did n't ache by the end of kung pow


overlong documentary about ` the lifestyle .


places the good-time shenanigans in welcome perspective


fascinating look


for all its visual panache and compelling supporting characters


imagine another director ever making his wife look so bad in a major movie


on sophisticated , discerning taste


efficiently


a sophisticated and unsentimental treatment


the fierce grandeur


captures both the beauty of the land and the people


this world more complex


a light touch


is too long with too little


detailed down to the signs on the kiosks


directed by kevin bray , whose crisp framing , edgy camera work , and wholesale ineptitude with acting , tone and pace very obviously mark him as a video helmer making his feature debut .


as telling a country skunk


than anything that 's been done before


sinks


squint to avoid noticing some truly egregious lip-non-synching


funny and touching


a glib but bouncy bit


this colorful bio-pic


viva le


you can find humor


a badly edited , 91-minute trailer ( and )


utterly pointless


acted and directed , it 's clear that washington most certainly has a new career ahead of him if he so chooses .


occasional slowness


can tell almost immediately that welcome to collinwood is n't going to jell


touch


from a director beginning to resemble someone 's crazy french grandfather


dong stakes out the emotional heart of happy .


merely bad


a culture-clash comedy that , in addition to being very funny


is just too original to be ignored .


all its effective moments


will be impressed by this tired retread


manages to deliver a fair bit of vampire fun .


water torture


into a gorgeously atmospheric meditation on life-changing chance encounters


awful complications


a superficial way , while never sure


no thanks .


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


sitting open too long


teddy bears '


with the unexplained baboon cameo


than in creating an emotionally complex , dramatically satisfying heroine


as any other arnie musclefest


's far from a frothy piece


delivered in grand passion by the members of the various households .


to begrudge anyone for receiving whatever consolation


another peek at some of the magic we saw in glitter here in wisegirls


there is a real subject here


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


rarely easy , obvious or self-indulgent


mctiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .


as-nasty -


efficient , suitably anonymous chiller


an overflowing septic tank


that it 's also one of the smartest


cinematic tragedies


pissed


a movie that deserves recommendation


inventing


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


is as deep as a petri dish and as well-characterized


so overwrought you 'd swear he just stepped out of a buñuel retrospective


film lapses


think of this dog of a movie as the cinematic equivalent of high humidity


( the film 's ) taste for `` shock humor '' will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers .


genuinely witty


who stumble into rules expecting a slice of american pie hijinks starring the kid from dawson 's creek


makes 98 minutes feel like three hours .


er , bubbly


simple and soapy


finch 's tale provides the forgettable pleasures of a saturday matinee


a spielberg trademark


an annoying orgy


touching


are idiosyncratic enough to lift the movie above its playwriting 101 premise


a pointed , often tender , examination of the pros and cons of unconditional


frustrated and detached


is truly funny ,


editing and pompous references


saves this deeply affecting film


educational !


fax


give it considerable punch .


it 's a solid movie about people whose lives are anything but .


not exaggerated enough


a summer entertainment adults can see without feeling embarrassed


the easy emotional buttons


fun or


the screenwriter responsible for one of the worst movies of one year


stuffy ,


lacking about everything


there is little else to recommend `` never again . ''


sabotaged by pomposity


prefabricated


that has no teeth


it 's the image that really tells the tale .


garnered from years of seeing it all , a condition only the old are privy to , and ...


deflated as he does


a compelling argument about death


truth


distinguish one sci-fi work


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


combines two surefire , beloved genres


whatever heartwarming scene the impressively discreet filmmakers may have expected to record with their mini dv , they show a remarkable ability to document both sides of this emotional car-wreck .


clumsy


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


learns that believing in something does matter


i like all four of the lead actors a lot and they manage to squeeze a few laughs out of the material , but


yet engrossing piece


that deserves to emerge from the traffic jam of holiday movies


, then it 's the perfect cure for insomnia .


to feel-good , follow-your-dream hollywood fantasies


to be because it plays everything too safe


of black indomitability


gives the lie


a knowing


draws you in


perfectly creepy and believable


drawn-out


good-naturedly


cause loads of irreparable damage that years and years of costly analysis could never fix


uneven dialogue and plot lapses


a compelling piece that demonstrates just how well children can be trained to live out and carry on their parents ' anguish


tickles


insomnia is one of the year 's best films and pacino gives one of his most daring , and complicated , performances


a joy


represents the depths to which the girls-behaving-badly film has fallen .


nostalgic


suited neither to kids or adults


necessary and timely


nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart .


... a triumph of emotionally and narratively complex filmmaking .


has little insight into the historical period and its artists ,


an unruly adolescent boy


flinging their feces


comes alive as its own fire-breathing entity in this picture


, annoying , heavy-handed


practically every expectation either a longtime tolkien fan or a movie-going neophyte


none of this is very original , and it is n't particularly funny


as director of the escort service was inspired


very dark and very funny


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


, walt becker 's film pushes all the demographically appropriate comic buttons .


this misty-eyed southern nostalgia piece ,


although it tries to be much more , it 's really just another major league .


producer john penotti surveyed high school students ... and came back with the astonishing revelation that `` they wanted to see something that did n't talk down to them . ''


of a movie that defies classification and is as thought-provoking as it


bring new energy to the familiar topic of office politics .


serves as a paper skeleton for some very good acting , dialogue , comedy , direction and especially charm


comes from the brave , uninhibited performances by its lead actors


move over bond


underachiever


stillborn


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


one of our best actors


the actresses in the lead roles are all more than competent


right choices


the movie is well done , but slow .


surveyed high school students ... and came back with the astonishing revelation that `` they wanted to see something that did n't talk down to them . ''


the wrong times


is to be cherished .


its performances are so well tuned that the film comes off winningly , even though it 's never as solid as you want it to be


annoying


a menace


a sun-drenched masterpiece , part parlor game , part psychological case study ,


pretty bad


the film has several strong performances .


and artistically inept


profound humanity


a witty , whimsical feature debut .


attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say ,


could n't care less


each scene immediately succumbs to gravity and plummets to earth .


the biggest problem with satin rouge is lilia herself .


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


wo n't like looking at it


fascinate in their recklessness


discursive but oddly riveting documentary


get more re-creations of all those famous moments from the show


seem like a recycling of clichés , an assassin 's greatest hits


dimming


his ( nelson 's ) screenplay needs some serious re-working to show more of the dilemma , rather than have his characters stage shouting matches about it .


the profoundly devastating events of one year ago


one of the most slyly exquisite anti-adult movies ever made .


finds warmth


hollywood has been trying to pass off as acceptable teen entertainment for some time now .


too amateurish and


overly-familiar and poorly-constructed comedy


watching your favorite pet get buried alive


a pleasant and engaging enough


needed so badly


high camp and yet another sexual taboo into a really funny movie


even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .


it 's hardly over before it begins to fade from memory


the delicate forcefulness of greene 's prose


of soliloquies about nothing delivered by the former mr. drew barrymore


that was followed by the bad idea


time bombs and


ruthlessly pained


acting horribly


the sequel plays out like a flimsy excuse to give blade fans another look at wesley snipes ' iconic hero doing battle with dozens of bad guys -- at once .


picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch


is an uncompromising film


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


the execution is pretty weary


has little to do with the story


mournful


an empty exercise , a florid but ultimately vapid crime melodrama with lots of surface flash but little emotional resonance .


this delicate coming-of-age tale a treat


told with the intricate preciseness of the best short story writing


are too immature and unappealing to care about


in this elegant entertainment


emphasis


of cinema 's directorial giants


tear-jerking


`` snl '' has-been


it an exhilarating


reasonably entertaining


embodies the transformation of his character completely


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


unpleasantly


it 's the worst movie i 've seen this summer


an unflinching ,


it felt like to be a new yorker -- or , really , to be a human being -- in the weeks after 9/11


it 's a lovely , eerie film that casts an odd , rapt spell .


played and smartly directed .


feels like a glossy rehash .


crack you up with her crass , then gasp for gas , verbal deportment


familiar road


disease-of-the-week


a younger lad


juiced with enough energy and excitement


stages his gags as assaults on america 's knee-jerk moral sanctimony


a masterpeice


praises


truly in love with a girl


it is also elevated by it -- the kind of movie that you enjoy more because you 're one of the lucky few who sought it out .


is that , even in all its director 's cut glory , he 's made a film that 's barely shocking , barely interesting and most of all , barely anything .


especially fine


starts with a legend and ends with a story that is so far-fetched it would be impossible to believe if it were n't true


been cobbled together onscreen


a fault


a pretty good job


smartly and


famed


take care is nicely performed by a quintet of actresses , but nonetheless it drags during its 112-minute length .


with a sickening thud


gary larson 's far side humor


a bland , surfacey way


with table manners


's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress


laced


devoid


as the very best of them


a very valuable film


interview with the assassin draws its considerable power from simplicity .


to watch too many barney videos


it makes your teeth hurt


given the fact that virtually no one is bound to show up at theaters for it , the project should have been made for the tube .


hoping for a stiff wind


cliched


is an exercise not in biography but in hero worship .


k-19 will not go down in the annals of cinema as one of the great submarine stories


stimulating and


it has made its way into your very bloodstream


nonsensical and


certainly the big finish was n't something galinsky and hawley could have planned for ... but part of being a good documentarian is being there when the rope snaps .


a superb performance


an incredibly layered and stylistic film


contributions


in its own way , joshua is as blasphemous and nonsensical as a luis buñuel film without the latter 's attendant intelligence , poetry , passion , and genius .


has the right stuff for silly summer entertainment and


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


the film sparkles with the the wisdom and humor of its subjects .


to enjoy its own transparency


is both stimulating and demanding


the man


conforms itself with creating a game of ` who 's who ' ... where the characters ' moves are often more predictable than their consequences .


nothing happens , and


the importance of being earnest


chance to learn , to grow , to travel


is truly gorgeous to behold


overdone


of deft and subtle poetry


busy


slightly less successful


on its empty head


at just over an hour , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .


been a lighthearted comedy


say you were n't warned


campanella 's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael 's evolution .


one of the most incoherent


pacing and lack


's no art here


a sardonic jolt


the trees hooting it 's praises


just plain dumb


entertaining film


a dumb , fun , curiously adolescent movie


bland to be interesting


manipulation , an exploitation piece doing its usual worst to guilt-trip parents


would n't be too crazy with his great-grandson 's movie splitting up in pretty much the same way .


guilt


duvall 's


actress-producer and writer


its seas of sand to the fierce grandeur of its sweeping battle scenes


chin 's film serves up with style and empathy


unpleasant debate that 's been given the drive of a narrative and that 's been acted out


invaluable historical document thanks


good fun


drug abuse


are both superb ,


so crisp and economical in one false move


, this film 's impressive performances and adept direction are n't likely to leave a lasting impression .


a maker of softheaded metaphysical claptrap


it 's stylishly directed with verve ...


all-over-the-map


delectable


never rises above easy , cynical potshots at morally bankrupt characters ...


it 's a fantastic movie


find in this dreary mess


is so rich with period minutiae


the worst possibilities of mankind


organic intrigue


he does such a good job of it that family fundamentals gets you riled up


despite its promising cast of characters


her agreeably startling use of close-ups


without you has a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .


emotionally grand


the dimming


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


alienation


an essentially awkward version


from a stunningly unoriginal premise


hackneyed story


extends to his supple understanding of the role


emotionally and spiritually compelling


these are textbook lives of quiet desperation .


, and fearlessness


with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds


he allows a gawky actor like spall -- who could too easily become comic relief in any other film -- to reveal his impressively delicate range .


's hardly a necessary enterprise .


a no-bull throwback


the curse of a self-hatred instilled


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


what saves this deeply affecting film from being merely a collection of wrenching cases is corcuera 's attention to detail .


to crack a smile at


lies considerable skill and determination , backed by sheer nerve


should scare any sane person away .


a rip-off


dancing , singing , and unforgettable characters


a real audience-pleaser that will strike a chord with anyone who 's ever


you have to see it .


its welcome with audiences several years


coral reef adventure is a heavyweight film that fights a good fight on behalf of the world 's endangered reefs -- and


his outstanding performance


spain 's greatest star wattage does n't overcome the tumult of maudlin tragedy .


you enough to feel good about


engaging fantasy


gives everyone something to shout about .


the startling intimacy


in the pants


that 's neither completely enlightening ,


creative act


that rare film whose real-life basis is , in fact , so interesting that no embellishment is needed .


`` red dragon '' never cuts corners .


its director could ever have dreamed


it quickly enters the pantheon of wreckage that includes battlefield earth and showgirls


as simple self-reflection meditation


occasionally interesting


may have many agendas


directed and convincingly acted


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


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


better still , he does all of this , and more , while remaining one of the most savagely hilarious social critics this side of jonathan swift .


as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters


has crafted here a worldly-wise and very funny script


handbag-clutching


gets a lot of flavor and spice into his charade remake


that comes along only occasionally , one so unconventional , gutsy and perfectly


interesting developments


astonishingly


that explores the monster 's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted


of clean and sober


is serry 's ability to take what is essentially a contained family conflict and put it into a much larger historical context


's a lovely , sad dance highlighted by kwan 's unique directing style .


, this could be a passable date film .


become a household name on the basis of his first starring vehicle


i do n't know if frailty will turn bill paxton into an a-list director , but


intrigued


more like a travel-agency video


in addition to gluing you to the edge of your seat , changing lanes is also a film of freshness , imagination and insight .


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


made you love it


witty dialog between realistic characters


that the less charitable might describe as a castrated


why , after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers


a feel-good movie about which you can actually feel good


badly made on every level


a ruffle in what is already an erratic career


a played-out idea


does sound promising in theory


's an energy to y tu mamá también .


the director explores all three sides of his story with a sensitivity and an inquisitiveness reminiscent of truffaut .


should be interesting


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


lightweight


hugh grant 's act is so consuming that sometimes it 's difficult to tell who the other actors in the movie are .


everyone can enjoy


is terrific ,


remind one of a really solid woody allen film , with its excellent use of new york locales and sharp writing


like the similarly ill-timed antitrust


the young actors , not very experienced ,


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


unrelated shorts


far less enjoyable


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


why it fails


notwithstanding my problem with the movie 's final half hour , i 'm going to recommend secretary , based on the wonderful acting clinic put on by spader and gyllenhaal


wonder of wonders --


never rises above superficiality .


that made me want to bolt the theater in the first 10 minutes


look sophisticated


a mediocre exercise


be found a tough beauty


so many merchandised-to-the-max movies of this type


particularly joyless ,


a decomposition


smith examines the intimate , unguarded moments of folks who live in unusual homes -- which pop up in nearly every corner of the country .


it 's dark but has wonderfully funny moments ; you care about the characters ; and the action and special effects are first-rate


nothing i had n't already seen .


it 's a terrible movie in every regard , and utterly painful to watch .


a listless climb down the social ladder


cultivation


's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience .


as tawdry trash


my advice is to skip the film and pick up the soundtrack .


luckiest stroke


with style and empathy


more accurate than anything


a mexican soap opera


emotionally and spiritually compelling journey


they just have problems , which are neither original nor are presented in convincing way .


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


dramatically lackluster


awe and affection --


rather slow


the enticing prospect of a lot of nubile young actors in a film about campus depravity


many ways the perfect festival film :


definitely


prove too convoluted for fun-seeking summer audiences


is simple but absorbing .


older and wiser eyes ,


that rare film whose real-life basis is , in fact , so interesting that no embellishment is


see nothing in it


fragmentary narrative style


if it had just gone that one step further


beijing


heartwarming and


its one-sidedness


feels stitched together from stock situations and characters from other movies .


it has its faults ,


the re - enactments , however fascinating they may be as history , are too crude to serve the work especially well .


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


more than it does cathartic truth telling


is one of the year 's worst cinematic tragedies .


of the worst dialogue


the arguments


earnest and heartfelt


's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .


revelled in the entertaining shallows


that , in their own idiosyncratic way , sum up the strange horror of life in the new millennium


a bored cage spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet


surprisingly ` solid ' achievement


is hardly the most original fantasy film ever made


good surprise ending


takes off in totally unexpected directions and


that the movie has no idea of it is serious or not


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


cultural


raucous and sappy


's surprisingly decent


stunning film


whom the


unstinting


simply , and surprisingly ,


is one word that best describes this film : honest


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


emerge dazed , confused as to whether you 've seen pornography or documentary .


be funny in a way that 's too loud , too goofy and too short of an attention span


she allows each character to confront their problems openly and honestly .


terror by suggestion , rather than the overuse of special effects


unbearably dull


admirers of director abel ferrara may be relieved that his latest feature , r xmas , marks a modest if encouraging return to form .


a mobius strip


acclaimed 1952 screen adaptation


overcomes its visual hideousness with a sharp script and strong performances .


it 's sweet and fluffy at the time ,


only is entry number twenty the worst of the brosnan bunch


the characters sound like real people


good-hearted


for the sights and sounds of the wondrous beats


a really strong second effort


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


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


( it 's ) a clever thriller with enough unexpected twists to keep our interest .


contradictory


everything meshes in this elegant entertainment


less ambitious


a sense of childhood imagination


that will capture the minds and hearts of many


has been trying to pass off as acceptable teen entertainment for some time now .


amicable


a way that 's too loud , too goofy and too short of an attention span


, bile , and irony


of heart or conservative of spirit


reminds me of a vastly improved germanic version of my big fat greek wedding -- with better characters , some genuine quirkiness and at least a measure of style


a familiar road with a few twists


wedgie


knows how to inflate the mundane into the scarifying ,


a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience


like the best of godard 's movies


having been recycled more times than i 'd care to count


at all clear what it 's trying to say and even if it were -- i doubt it


felt like to be a new yorker -- or , really , to be a human being -- in the weeks after 9/11


precarious


just too silly and


sordid and disgusting


auteil 's less dramatic but equally incisive performance


as lax and limp a comedy as i 've seen in a while , a meander through worn-out material


've got to admire ... the intensity with which he 's willing to express his convictions


squarely fills the screen .


a `` home alone '' film that is staged like `` rosemary 's baby , '' but is not as well-conceived as either of those films .


above easy , cynical potshots at morally bankrupt characters


pale successor


just another disjointed , fairly predictable psychological thriller


show a remarkable ability to document both sides of this emotional car-wreck


final whistle


( toback 's ) fondness for fancy split-screen , stuttering editing and pompous references to wittgenstein and kirkegaard ... blends uneasily with the titillating material .


it threatens to get bogged down in earnest dramaturgy


as appalling as any ` comedy '


the enjoyable undercover brother , a zany mix of saturday night live-style parody , '70s blaxploitation films and goofball action comedy gone wild ,


bright on this frozen tundra soap opera that breathes extraordinary life into the private existence of the inuit people


gets you riled up


the film never recovers from the clumsy cliché of the ugly american abroad


it struck a chord in me


elevates the movie above the run-of-the-mill singles blender


why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world


princesses


a detailed historical document , but an engaging and moving portrait of a subculture


pleasing at its best moments


like a cold old man going through the motions .


who , exactly , is fighting whom here ?


is moving


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


ill-considered


boring despite the scenery


the laziness and arrogance


pedestrian , flat drama


mostly to the tongue-in-cheek attitude of the screenplay


may lack the pungent bite of its title , but


are lacking


wholly believable and heart-wrenching depths of despair


, it feels painfully redundant and inauthentic .


a wildly inventive mixture


indeed , the first half of sorority boys is as appalling as any ` comedy ' to ever spill from a projector 's lens


a smart , steamy mix of road movie , coming-of-age story and political satire


tackled a meaty subject and


how good


dark-as-pitch


pascale bailly 's rom-com provides amélie 's audrey tautou with another fabuleux destin -- i.e. , a banal spiritual quest .


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


questionable kind


is betrayed by the surprisingly shoddy makeup work


has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care ,


can open the door to liberation .


's kind of sad


poignancy


goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers


feature to hit theaters since beauty and the beast 11 years ago


by an imaginatively mixed cast of antic spirits


incredibly


the best film


barely camouflaging grotesque narcissism


unfocused and


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


looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights .


does n't drag an audience down


talky , artificial and opaque


the perverse pleasure


the ultimate imax trip


's crafty , energetic and smart


the barn-burningly bad movie


, all credibility flies out the window .


a delightfully dour , deadpan tone and stylistic consistency


most of the work


a suspenseful spin


returning director rob minkoff ... and screenwriter bruce joel rubin


its rather slow beginning


refreshingly realistic , affectation-free


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


a charming , banter-filled comedy ...


that movie was pretty bad


's a movie that accomplishes so much that one viewing ca n't possibly be enough .


is a movie that starts out like heathers , then becomes bring it on , then becomes unwatchable


one of the most curiously depressing


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 .


a fun


the astute direction of cardoso and


the most entertaining moments


ca n't help suspecting that it was improvised on a day-to-day basis during production .


this sensitive , smart , savvy , compelling coming-of-age drama


particularly memorable


left slightly unfulfilled


a second chance to find love in the most unlikely place


the movie is a lumbering load of hokum but ... it 's at least watchable


a bit of heart and unsettling subject matter


its ecological , pro-wildlife sentiments are certainly welcome


goes for sick and demented humor simply to do so


fits into a classic genre , in its script and execution


on opting out of any opportunity for finding meaning in relationships or work


in the best way


winning and wildly fascinating


it also comes with the laziness and arrogance of a thing that already knows it 's won .


there are many definitions of ` time waster ' but


captures the way young japanese live now , chafing against their culture 's manic mix of millennial brusqueness and undying , traditional politesse


that anyone in his right mind would want to see the it


elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .


articulate , grown-up voice


that this film 's cast is uniformly superb


leigh is n't breaking new ground , but he knows how a daily grind can kill love


, you might soon be looking for a sign .


fill the hot chick , the latest gimmick from this unimaginative comedian .


haphazard theatrical release


really busts out of its comfy little cell


a new , or inventive , journey


really get inside of them .


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


of an expert thriller


nary a glimmer of self-knowledge


has a certain ghoulish fascination , and generates a fair amount of b-movie excitement .


grayish


and unforgettable characters


gaunt , silver-haired and leonine , ( harris ) brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman .


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


bogs down in genre cliches here .


combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why did n't hollywood think of this sooner ?


hollow mockumentary


a bit too much like an infomercial for ram dass 's latest book aimed at the boomer


loses its ability to shock and amaze .


a soulless jumble of ineptly


a bunch of talented thesps


is like having two guys yelling in your face for two hours


pitifully few real laughs


's splash without the jokes


is one big , dumb action movie .


barely realize your mind is being blown .


playful but highly studied


human darkness


the best date movie


his boisterous energy fails to spark this leaden comedy


technically proficient and


the stale material


the film 's final hour , where nearly all the previous unseen material resides , is unconvincing soap opera that tornatore was right to cut .


is predictable at every turn .


is capped with pointless extremes


an enjoyable comedy of lingual and cultural differences ... the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten .


there 's no point of view , no contemporary interpretation of joan 's prefeminist plight ,


the gratuitous cinematic distractions


its amiable jerking


the depth of these two literary figures , and even the times in which they lived


of dramatic fireworks


gasp , shudder


though its rather routine script is loaded with familiar situations


there is no sense


a triumph ,


no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery


force himself on people and into situations that would make lesser men run for cover


rodan is out of his league


perfectly executed


fails to provide much more insight than the inside column of a torn book jacket


manipulative claptrap , a period-piece movie-of-the-week


starts off as a possible argentine american beauty reeks like a room stacked with pungent flowers .


all three sides of his story with a sensitivity and an inquisitiveness reminiscent of truffaut


with a visually masterful work of quiet power


high hilarity


sweet time building


appalling ` ace ventura ' rip-off


so impersonal


1937 breakthrough


you must shoot it in the head


slides downhill as soon as macho action conventions assert themselves .


cranky adults


tits


exciting documentary


make personal velocity into an intricate , intimate and intelligent journey


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


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


resorting to camp or parody


remains vividly in memory long


in bad stage dialogue


every visual joke is milked


seamless and sumptuous stream


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


that it 's inauthentic at its core and that its story just is n't worth telling


no , even that 's too committed .


highly recommended as an engrossing story about a horrifying historical event and the elements which contributed to it .


these self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation


the artwork is spectacular and unlike most animaton from japan , the characters move with grace and panache


his kids to watch too many barney videos


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


kinnear 's performance is a career-defining revelation .


this obscenely bad dark comedy , so crass


too damn weird


dreamed up such blatant and sickening product placement


laugh riot


good intentions


opera on film is never satisfactory .


bloody beauty as vivid


that fights a good fight on behalf of the world 's endangered reefs


salvos hitting a discernible target .


intimate and panoramic .


it 's quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere .


craig bartlett and director tuck tucker should be commended for illustrating the merits of fighting hard for something that really matters .


stodgy , soap opera-ish dialogue


what ( frei ) gives us ... is a man who uses the damage of war -- far more often than the warfare itself -- to create the kind of art shots that fill gallery shows .


of a troubadour , his acolytes , and the triumph of his band


nothing original


give it considerable punch


an artist who has been awarded mythic status in contemporary culture


with the best of them


bile


sent back


in all the annals of the movies , few films have been this odd , inexplicable and unpleasant .


want to smash its face in


, you 'd have a hard time believing it was just coincidence .


starts making water torture seem appealing


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


overwhelmingly


without placing their parents in a coma-like state


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


that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener


relentlessly nasty


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


the delicious trimmings ...


acute writing and a host of splendid performances


slimed in the name of high art


parents beware


works its way up to merely bad rather than painfully awful


compelling plots


tired one


that these women are spectacular


the innate theatrics that provide its thrills and extreme emotions


committed to film


is supremely unfunny and unentertaining


sets out


give a backbone to the company and provide an emotional edge to its ultimate demise


winds up looking like a bunch of talented thesps slumming it .


are well done and perfectly constructed to convey a sense of childhood imagination


stop-and-start pacing


gives the story some soul


brave and sweetly rendered love story .


none of this is meaningful or memorable , but frosting is n't , either , and


is not quite the career peak


spiced with the intrigue of academic skullduggery and politics .


to face frightening late fees


pseudo-philosophic twaddle


hand it to director george clooney


argues


those eternally devoted to the insanity of black will have an intermittently good time .


find yourself wishing that you and they were in another movie


forget about one oscar nomination for julianne moore this year - she should get all five


useless movie


utter loss


like any of these despicable characters


the production is suitably elegant


amoral assassin


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


good action ,


fresh point


of his top-notch creative team


proves to be sensational


hollywood kids


the tiresome rant of an aging filmmaker still thumbing his nose at convention


're all in this together


inane ramblings


there are some laughs in this movie ,


this unrelenting bleak insistence


does n't understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself


i do n't think this movie loves women at all .


are fascinating


notice the flaws


wilco fans will have a great time , and the movie should win the band a few new converts , too .


in which laughter and self-exploitation merge into jolly soft-porn 'em powerment


a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .


numb experience of watching o fantasma


because of the universal themes , earnest performances


pleasant enough --


with a jarring , new-agey tone creeping into the second half


the gorgeous locales


who comes across as both shallow and dim-witted


lackadaisical


mr. haneke 's own sadistic tendencies


take center screen , so that the human story is pushed to one side


the story of trouble every day ... is so sketchy it amounts to little more than preliminary notes for a science-fiction horror film ,


is also a creative urge


a coming-of-age story with such a buoyant , expressive flow of images


heartfelt and


this new movie version of the alexandre dumas classic is the stuff of high romance , brought off with considerable wit .


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


is flat


fascinating little tale


moviegoers not already clad in basic black


colorful , dramatized pbs program


solid performances and


his innocence soon becomes a questionable kind of inexcusable dumb innocence


learned the hard way just


mr. chabrol 's subtlest works


schaeffer 's film never settles into the light-footed enchantment the material needs


be played out in any working class community in the nation


a big letdown


no charm , no laughs , no fun , no reason to watch


be disappointed


cherish


intriguing plot


seagal ran out of movies years ago , and this is just the proof


, emotionally honest


ends up more of a creaky `` pretty woman '' retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought


creative interference


for damon/bourne or his predicament


sloppy plotting


surprisingly short of both adventure and song


the best straight-up


to feel sorry for mick jagger 's sex life


funniest and most likeable movie in years


constantly pulling the rug from underneath us


to avoid


it fails to have a heart , mind or humor of its own


it 's impossible to indulge the fanciful daydreams of janice beard ( eileen walsh ) when her real-life persona is so charmless and vacant .


the charm of kevin kline and a story that puts old-fashioned values under the microscope


cute frissons


wilson and murphy


controversial


as a potentially incredibly twisting mystery


turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema


a chore to sit through -- despite some first-rate performances by its lead


romanek 's themes are every bit as distinctive as his visuals .


thrilling combination


is rich in emotional texture


delightful , witty , improbable romantic comedy


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 intriguing , provocative stuff .


signposts marking the slow , lingering death of imagination


, the new thriller 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 .


with lingering questions about what the film is really getting at


frittered away


the action sequences -- clearly the main event --


a solid cast , assured direction and complete lack of modern day irony .


struck me as unusually and unimpressively fussy


of a paint-by-numbers picture


the movie is silly beyond comprehension


warmth to go around , with music and laughter and


discoveries


the following things are not at all entertaining


it 's easy to love robin tunney -- she 's pretty and she can act -- but it gets harder and harder to understand her choices .


keep upping the ante on each other ,


turns the marquis de sade into a dullard


thrills , too many flashbacks


skins has a desolate air


this charmer


falls far short of the peculiarly moral amorality of ( woo 's ) best work


laborious whine , the bellyaching of a paranoid and unlikable man .


the four primary actors


spellbinding


, you ca n't help suspecting that it was improvised on a day-to-day basis during production .


its laziest


schaeffer 's film never settles into the light-footed enchantment the material needs , and the characters ' quirks and foibles never jell into charm


superb performers


match the freshness of the actress-producer and writer


pleasure to watch


is the rare common-man artist who 's wise enough to recognize that there are few things in this world more complex -- and , as it turns out , more fragile -- than happiness .


phenomenon


yields surprises .


the superficial tensions of the dynamic he 's dissecting


buried , drowned


a remarkably faithful one


maintains your sympathy for this otherwise challenging soul


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


is a far smoother ride .


fascinating portrait


you care about the characters


amusing from time


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


the script 's refusal of a happy ending


watching junk like this induces a kind of abstract guilt , as if you were paying dues for good books unread , fine music never heard .


, life-affirming moments


the ridiculous bolero


guiding lights


it 's too harsh to work as a piece of storytelling


inhuman cinematic punishment


( gayton 's script ) telegraphs every discovery and layers on the gloss of convenience .


executed it takes your breath away .


revelatory and


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


is matched only by the ridiculousness of its premise .


has all the wiggling energy of young kitten


hopeless


and immature provocations


sitting through this one


dynamic first act


inherently funny


accompanied by the sketchiest of captions .


mean-spirited film


is nothing less than a provocative piece of work


thought-provoking and stylish


all will be greek to anyone not predisposed to the movie 's rude and crude humor .


you rode the zipper after eating a corn dog and an extra-large cotton candy


, pristine style and bold colors make it as much fun as reading an oversized picture book before bedtime .


ca n't miss it .


such a lousy way , complete with some of the year 's ( unintentionally ) funniest moments , that it 's impossible to care


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


try to guess the order in which the kids in the house will be gored


if oscar had a category called best bad film you thought was going to be really awful but was n't


unexpected flashes of dark comedy


worst possibilities


assures that the pocket monster movie franchise is nearly ready to keel over


psychologically savvy .


be exasperated by a noticeable lack of pace


what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .


charming and witty , it 's also somewhat clumsy .


first mistake


one of demme 's good films


long on glamour


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


grievous


short and sweet


seemingly sincere personal reflection


could take me back to a time before i saw this movie


fontaine masterfully


like a typical bible killer story


in the solemnity with which it tries to pump life into overworked elements from eastwood 's dirty harry period


laggard drama wending its way to an uninspired philosophical epiphany .


wrapped up in the characters


given fair warning


uglier


too heady for children , and too preachy


chance to prove his worth


they see the joy the characters take in this creed


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


general boorishness


deeply unpleasant experience


stand out


want my money back


the story has some nice twists but the ending and


, at 66 , has stopped challenging himself


the picture runs a mere 84 minutes , but it 's no glance .


to endure instead of enjoy


snooze


still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival


been sent back to the tailor for some major alterations


is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .


irritating ( at least to this western ear ) ,


lewis


of the best films


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


friendly kick


elicits strong performances


far more interesting


embraces life


star power ,


, wilde 's play is a masterpiece of elegant wit and artifice .


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


ca n't swim represents an engaging and intimate first feature by a talented director to watch


comes along only occasionally


will find morrison 's iconoclastic uses of technology to be liberating


... an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller .


a rambling and incoherent manifesto about the vagueness of topical excess


attack of the clones is a technological exercise that lacks juice and delight


denying that burns is a filmmaker with a bright future ahead of him


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


idiotic and ugly


miserable


interesting matters


a stylish exercise


is advised to take the warning literally , and log on to something more user-friendly


to being exciting


work of extraordinary journalism


precision


its make-believe promise of life


mctiernan 's remake may be lighter on its feet


unblinkingly pure as the hours


that disconnects every 10 seconds


at meaningful cinema


's packed with just as much intelligence as action


moronic


that takes its sweet time building to a climax that 's scarcely a surprise by the time


collective


of beautiful movement and inside information


plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .


sticky and unsatisfied


characters so unsympathetic


, it has some problems


worldly-wise and very funny


appears miserable throughout as he swaggers through his scenes


it 's refreshing to see a romance this smart .


by writer-director kurt wimmer


, you 'll like promises .


seen the deep like you see it in these harrowing surf shots


a trend long overdue


that zings all the way through with originality , humor and pathos


but not great )


in the end there is one word that best describes this film : honest .


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


skip the film and buy the philip glass soundtrack cd


ugly , revolting movie


this ludicrous film


proof once again that if the filmmakers just follow the books


by working girl scribe kevin wade


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


if a big musical number like ` praise the lord , he 's the god of second chances ' does n't put you off , this will be an enjoyable choice for younger kids .


is awful .


what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it 's icky .


too fluffy


saccharine sentimentality


takes hold and grips hard .


make interesting


, vaguely silly overkill


big-fisted


is a sincerely crafted picture that deserves to emerge from the traffic jam of holiday movies .


something that really matters


finds its tone and several scenes run too long .


daughter


return to neverland manages to straddle the line between another classic for the company


some very good acting


reactionary ideas about women


involve a dentist drill


as an actress in a role


can not engage .


, energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they 're not interested .


it could have been something special , but two things drag it down to mediocrity -- director clare peploe 's misunderstanding of marivaux 's rhythms , and mira sorvino 's limitations as a classical actress


brings a youthful , out-to-change-the-world aggressiveness to the project ,


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


washed out despite all of that


as intellectual masterpieces


collapses


of cliches


of family , forgiveness and love


style and


tacky and reprehensible


be genuinely satisfying


heedless


an average b-movie with no aspirations to be anything more


plummets


eyre , a native american raised by white parents , manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor


not amused by the sick sense of humor


dudsville


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


unusual homes


slob


, derrida is all but useless


good actors ,


to make box office money that makes michael jordan jealous


equals the original and in some ways even betters it


leaves any true emotional connection or identification frustratingly out of reach


, the movie is busy contriving false , sitcom-worthy solutions to their problems .


share no chemistry or engaging charisma


no new plot conceptions


does n't disappoint .


this is one summer film that satisfies


the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded .


tragic deaths


an above-average thriller


wrap the proceedings up neatly


cult film


the problem is the needlessly poor quality of its archival prints and film footage .


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


so poorly


falls apart like a cheap lawn chair


piercing intellect


of its spirit


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


the seemingly irreconcilable situation between conservative christian parents and their estranged gay and lesbian children


knows its classical music


distinguished actor


are brazen enough to attempt to pass this stinker off as a scary movie


the movie you 're looking for


works even without vulgarity , sex scenes , and cussing


the crisp clarity of a fall dawn


profoundly moving documentary


a tearjerker


more of an ordeal than an amusement


bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama


there are enough high points to keep this from being a complete waste of time


to do a little fleeing of its own


an insultingly inept and artificial examination


the most practiced curmudgeon


an intoxicating show


seem odd bedfellows


most repellent


nonetheless it drags during its 112-minute length


generates by orchestrating a finale that is impenetrable and dull


there are n't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs. the big guys


only to record the events for posterity , but


third time 's the charm


a creepy , intermittently powerful study of a self-destructive man ... about as unsettling to watch as an exploratory medical procedure or an autopsy .


the most memorable moment


more quick-witted than any english lit


an entertaining , if somewhat standardized , action movie .


conjured up only 10 minutes prior to filming


heaven


a laughable --


has the thrown-together feel of a summer-camp talent show : hastily written ,


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


a woman whose passion for this region and its inhabitants still shines in her quiet blue eyes


've seen some bad singer-turned actors


arthur schnitzler 's reigen


successful one


gives devastating testimony


dread encountering the most


a sentimental mess that never


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


in looking at the comic effects of jealousy


is born to play shaggy !


like a room stacked with pungent flowers


of artifice and purpose


fire a torpedo through some of clancy 's holes


to have decades of life as a classic movie franchise


barbarism


and crude humor


does n't end up being very inspiring or insightful


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


lavish formalism


i can channel one of my greatest pictures , drunken master


has created a predictably efficient piece of business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you had n't seen , which , in this day and age , is of course the point


opera-ish dialogue


a real snooze .


for its boundary-hopping formal innovations and glimpse


a whole heap


like peace


with a flimsy ending


-- an unpleasant debate that 's been given the drive of a narrative and that 's been acted out --


while not all that bad of a movie , it 's nowhere near as good as the original .


of very bad scouse accents


in its over-the-top way


an exquisite motion picture in its own right


extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten .


by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


is as difficult for the audience


dies


intelligent jazz-playing exterminator


in and of himself funny


joan and philip 's repetitive arguments , schemes and treachery


sappy and amateurish


with a humanistic message


, it 's nowhere near as good as the original .


the paper-thin characterizations and facile situations


burns gets caught up in the rush of slapstick thoroughfare .


matched only by the ridiculousness of its premise


a venturesome , beautifully realized psychological mood piece that reveals its first-time feature director 's understanding of the expressive power of the camera .


becomes more specimen than character


a remarkably accessible and haunting film


see it as soon as possible


say something about its subjects


is also beautifully acted .


surprisingly well


a marvelous performance


female friendship that men can embrace


sometimes is a brilliant movie .


-- if predictable --


an unforgettable


the promise of digital filmmaking


unfilmable


traffic


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


families and church meetings


lacking any sense of commitment to or


fixating


the cleverness


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


grown tired of going where no man has gone before


kilt-wearing jackson


of how horrible we are to ourselves and each other


dreamy


the first half of gangster no. 1 drips with style


few things more frustrating


has warmth , wit and interesting characters compassionately portrayed


exaggerated and


has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch


of other , better movies


is the opposite of a truly magical movie .


no , it 's not as single-minded as john carpenter 's original , but it 's sure a lot smarter and more unnerving than the sequels .


it hates its characters .


, in spite of clearly evident poverty and hardship , bring to their music


the screen in frustration


ignorant


unmemorable


treasure


pure over-the-top trash


another day of brit cinema


consumed and forgotten


to make absurdist observations


self-caricature


it is bad , but certainly not without merit as entertainment .


the movie as a whole is cheap junk and an insult to their death-defying efforts


over-the-top , and


what to make of this italian freakshow


is unusual but unfortunately also irritating


a tale worth catching


offers chills


irritates and saddens me that martin lawrence 's latest vehicle can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere


abyss


wryly amusing


wicked black comedy


perfect balance


the problems and characters it reveals are universal and involving


bad writing


feel like a 10-course banquet


of whimsicality , narrative discipline and serious improvisation


of carefully choreographed atrocities , which become strangely impersonal and abstract


us to laugh because he acts so goofy all the time


the filmmakers want nothing else than to show us a good time , and


laughs -- sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh


more than its fair share of saucy hilarity .


should pay money for what we can get on television for free


these brats will ever be anything more than losers


four star performance


makes all the difference


are struggling to give themselves a better lot in life than the ones


been discovered , indulged in and rejected as boring before i see this piece of crap again


the strength


the delicious


as banal as the telling may be


the biggest problem with roger avary 's uproar against the mpaa


pungent bite


into this turkey


significantly better


a stale , overused cocktail using the same olives since 1962 as garnish


can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere


with nary a glimmer of self-knowledge , ( crane ) becomes more specimen than character -- and


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


by and large this is mr. kilmer 's movie , and it 's his strongest performance since the doors .


if anything , the film is doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans .


is unusual but unfortunately also irritating .


skimpy


be with a large dose of painkillers


that things fall apart


, interest can not be revived .


had much science


bring tissues


which is nothing to sneeze at these days


no real surprises


the best film


shame on writer/director vicente aranda for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull


visually masterful


's ) better at fingering problems than finding solutions


a director beginning to resemble someone 's crazy french grandfather


a movie you can trust


its strengths


all the sibling rivalry and


irrational , long-suffering but cruel


is a poem to the enduring strengths of women


is undoubtedly one of the finest films of the year .


's too harsh to work as a piece of storytelling


pokémon 4ever


did no one on the set have a sense of humor ,


like mike is n't going to make box office money that makes michael jordan jealous


-- sometimes tedious --


the grandkids or the grandparents


sitting through this sloppy , made-for-movie comedy special


anyone who has seen the hunger or cat people will find little new here


after being snared in its own tangled plot


if the full monty was a freshman fluke , lucky break is ( cattaneo ) sophomore slump .


hawke 's film , a boring , pretentious waste of nearly two hours ,


good cinematography


to a satisfying complete picture of this particular , anciently demanding métier


big selling point


at the edge of your seat for long stretches


by volletta wallace 's maternal fury , her fearlessness


one of the rarest kinds of films :


a sun-drenched masterpiece , part parlor game


e.t. is still a cinematic touchstone .


's just a movie that happens to have jackie chan in it .


on dave barry 's popular book of the same name


deftly captures


in a fresh way


quirky iranian drama secret ballot


seem weird and distanced


ca n't help but get caught up in the thrill of the company 's astonishing growth .


a lot going for it , not least the brilliant performances by testud ...


the thematic ironies are too obvious and the sexual politics too smug


by pretentious , untalented artistes who enjoy moaning about their cruel fate


just as much intelligence


lacking in charm and charisma


's the sweet cinderella story


empowerment movie


even a story immersed in love , lust , and sin


at least it 's a funny no-brainer


the acting is amateurish , the cinematography is atrocious , the direction is clumsy


seemed bored


pull us deep into the girls ' confusion and pain as they struggle tragically to comprehend the chasm of knowledge that 's opened between them


gets under your skin and , some plot blips aside


sad schlock merchant


silly , nickelodeon-esque kiddie flick


nothing short of refreshing


ultimately it 's undone by a sloppy script


oddly humorous to tediously sentimental


collateral damage is trash , but


lax


the chatter of parrots raised on oprah


's a diverting enough hour-and-a-half for the family audience


the artwork is spectacular and


another useless recycling


is a horrible movie


the historical , philosophical , and


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


sting


a better movie experience


forgot to include anything even halfway scary as they poorly rejigger fatal attraction into a high school setting .


people are innocent , childlike and inherently funny


in his u.s. debut , mr. schnitzler proves himself a deft pace master and stylist .


wanders


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


classic cinema


rushed ,


this is n't even a movie we can enjoy as mild escapism ;


the script is a disaster , with cloying messages and irksome characters .


at times , the movie looks genuinely pretty .


road


just different bodies for sharp objects to rip through


the charismatic jackie chan to


takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours


drag it down to mediocrity -- director clare peploe 's misunderstanding of marivaux 's rhythms , and mira sorvino 's limitations as a classical actress


breathe life


it 's light on the chills and heavy on the atmospheric weirdness , and there are moments of jaw-droppingly odd behavior -- yet i found it weirdly appealing


of clichés and borrowed images


gently humorous


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


rejected


no one can doubt the filmmakers ' motives , but the guys still feels counterproductive .


's a reason the studio did n't offer an advance screening


its own quirky hipness


hedonistic


funny ,


of these despicable characters


uplifting and moving


the character dramas , which never reach satisfying conclusions


better than any summer blockbuster


understated piece


makes the princess seem smug and cartoonish


inviting


our reality tv obsession , and even


put away the guitar ,


erotic


some real vitality and even art


for the toilet and scores a direct hit


a holy fool


dumb gags , anatomical humor , or character cliches


, beloved genres


it is that it does n't give a damn .


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


barry 's cold-fish act makes the experience worthwhile


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


in remembrance


hyper-realistic


film legacy


it 's definitely not made for kids or their parents , for that matter ,


simple-minded


calm us of our daily ills and bring out joys in our lives that we never knew


is nothing but boilerplate clichés from start to finish


victim to sloppy plotting


is consistently amusing and engrossing ...


thoroughly satisfying


adorns his family-film plot with an elegance and maturity


a lovely film for the holiday season


remarkably cohesive


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


( and lovely )


may seem disappointing in its generalities


some of the most ravaging , gut-wrenching , frightening war scenes since `` saving private ryan '' have been recreated by john woo in this little-known story of native americans and their role in the second great war .


in form


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


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .


plot holes sink this ` sub '


attentive


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


that should be thrown back in the river


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


to die for


as a portrait of the artist as an endlessly inquisitive old man , however , it 's invaluable


's a reason why halftime is only fifteen minutes long .


molested


's coherent


the horrors of the killing field and the barbarism of ` ethnic cleansing


can go home again


sweet , funny , charming , and


visual appeal


no chemistry


relatively nothing happens


unlike so many other hollywood movies of its ilk , it offers hope


of an ordeal than an amusement


stitched together from stock situations and characters


to create something original


the acting is amateurish


an in-depth portrait


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


thinking not only that kate is n't very bright , but that she has n't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another


the best brush in the business


surprising highs ,


a lovely , eerie film that casts an odd , rapt spell


feel sad


of the two bewitched adolescents


unifying rhythm


anyone 's guess


pretty well


painfully bad


offers big , fat , dumb laughs that may make you hate yourself for giving in .


, brain-deadening hangover


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


a strong directorial stamp on every frame of this stylish film that is able to visualize schizophrenia but is still confident enough to step back and look at the sick character with a sane eye


nearly as fresh or enjoyable as its predecessor


carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .


unpleasant excuse


if you 're looking for a story , do n't bother .


which should appeal to women


the imagined glory of their own pasts


bravura


dismember


has all the trappings of an energetic , extreme-sports adventure , but


half the excitement of balto


the only thing i laughed at were the people who paid to see it .


no new plot conceptions or


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


( `` safe conduct '' ) is a long movie at 163 minutes


it looks good


crisp framing ,


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


cyndi lauper


need another film that praises female self-sacrifice


give many ministers and bible-study groups hours of material to discuss


through its otherwise comic narrative


seems like some futile concoction that was developed hastily after oedekerk


, `` orange county '' is far funnier than it would seem to have any right to be .


about the general absurdity of modern life


dimness


the crassness


hastily and


give credit to everyone from robinson down to the key grip that this bold move works


it 's plotless , shapeless --


witless , pointless , tasteless and idiotic


ramsay is clearly extraordinarily talented , and


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


the observations of this social/economic/urban environment are canny and spiced with irony .


with the assassin is structured less as a documentary and more as a found relic


, this retooled machine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself .


is unfocused


most entertaining


genre-busting film


and thanks to kline 's superbly nuanced performance , that pondering is highly pleasurable .


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


with its elbows sticking out where the knees should be


resembles an outline for a '70s exploitation picture than the finished product .


an idea of expectation


should appreciate its whimsical humor


a terrifically entertaining specimen


maudlin and cliche-ridden


way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material


, they finally feel absolutely earned


quickly becomes a tiresome cliché


eludes madonna and , playing a charmless witch


unaware that it 's the butt of its own joke


hitchcock 's


our sympathies


touching film


with few respites


the latest vapid actor 's exercise to appropriate the structure of arthur schnitzler 's reigen .


rehashes several old themes and is capped with pointless extremes


lousy guy ritchie imitation


otherwise bleak


acted , quietly affecting cop drama


beyond the astute direction of cardoso and beautifully detailed performances by all of the actors


usual tear


who has come to new york city to replace past tragedy with the american dream


may not always work


phoned-in business as usual .


lazily and glumly settles into a most traditional , reserved kind of filmmaking .


does n't flinch from its unsettling prognosis , namely , that the legacy of war is a kind of perpetual pain


a surprisingly charming and even witty match for the best of hollywood 's comic-book adaptations .


when the tears come during that final , beautiful scene


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


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


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


this deeply touching melodrama


smarter and more attentive than it first sets out to be .


alternately hilarious and sad


the best he 's been in years


're in for a painful ride


sharply


does n't have enough innovation or pizazz to attract teenagers


sink it


if you love the music , and i do , its hard to imagine having more fun watching a documentary ...


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


spent the duration of the film 's shooting schedule waiting to scream : ``


becomes distasteful and downright creepy


is notable for its sheer audacity and openness


on toilet humor , ethnic slurs


spite of it


is as bad as you think , and worse than you can imagine .


that it 's more than a worthwhile effort


, but it also does the absolute last thing we need hollywood doing to us : it preaches .


as the way adam sandler 's new movie rapes


gives us another peek at some of the magic we saw in glitter here in wisegirls


director michael cacoyannis displays with somber earnestness in the new adaptation of the cherry orchard


know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money


you 're going to face frightening late fees


most audacious , outrageous , sexually explicit , psychologically probing


still manages to string together enough charming moments to work .


the movie landscape


is smart writing , skewed characters , and the title performance by kieran culkin .


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


french filmmaker karim dridi that celebrates the hardy spirit of cuban music


that it is instead a cheap cliché


elegantly colorful look


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


truly distinctive and a deeply pertinent


create some episodes that rival vintage looney tunes for the most creative mayhem in a brief amount of time .


`` spider-man '' certainly


, but i suspect it might deliver again and again .


is a sweet treasure and something well worth your time .


a gripping documentary that


give credit to everyone from robinson


seems to take an unseemly pleasure in ( the characters ' ) misery and at the same time to congratulate himself for having the guts to confront it


puzzle whose pieces do not fit .


the dark areas of parent-child relationships


provides the kind of ` laugh therapy ' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending


, and unforgettable characters


rare combination


make you feel like a sucker


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


admirably


appropriately


that warm water under a red bridge is a poem to the enduring strengths of women


the thin veneer of nationalism


taymor , the avant garde director of broadway 's the lion king and the film titus , brings


carries you


donovan ... squanders his main asset ,


great performances , stylish cinematography and a gritty feel help


this somewhat tired premise


the viewers will feel they suffer the same fate


the intricate preciseness


is so intimate and sensual and funny and psychologically self-revealing


overused


befuddling


mildly entertaining


may be more genial than ingenious , but it gets the job done


typical toback machinations


an undeniably fascinating and playful fellow


on the strength of their own cleverness


updating white 's dry wit to a new age


from a bad clive barker movie


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


works superbly here


beautiful , evocative


waste of time , money and celluloid


ca n't possibly be enough


punch and depth


vicious and absurd


a small gem of a movie that defies classification and is as thought-provoking as it


a dreary , humorless soap opera


is funny and pithy ,


is the awkwardly paced soap opera-ish story


the story is bogus and


bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival


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


with laptops , cell phones and sketchy business plans


imagine 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


a hypnotic portrait of this sad , compulsive life .


conceptually brilliant ... plays like a living-room war of the worlds , gaining most of its unsettling force from the suggested and the unknown .


with flawless amounts of acting , direction , story and pace


feel sorry


is found in its ability to spoof both black and white stereotypes equally .


endearing , masterful


dull , brain-deadening hangover


, unconvincing dramatics


even after 90 minutes of playing opposite each other


the movie is not as terrible as the synergistic impulse that created it .


painfully


flavorful


an impressive roster of stars and direction


uninspired


look at the star-making machinery of tinseltown .


solid family fun


smarter and much


is workmanlike in the extreme


unemployment


manages to be pleasant in spite of its predictability


( reaches ) wholly believable and heart-wrenching depths of despair


every cheap trick in the book trying to make the outrage


goes by quickly


like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot


grows