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in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism
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, witless mess
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gives it a buoyant delivery
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than like being stuck in a dark pit having a nightmare about bad cinema
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is as deep as a petri dish and as well-characterized as a telephone book but still
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... is funny in the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality .
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a marginal thumbs
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neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .
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its greatest play
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it would count for very little if the movie were n't as beautifully shaped and as delicately calibrated in tone as it is
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has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) - with nothing but net
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is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip
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is too heady for children , and too preachy
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a good documentary can make interesting a subject you thought would leave you cold .
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feast
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does n't really believe in it
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important political documentary
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may prove too convoluted for fun-seeking summer audiences
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a good deal funnier than his original
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is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue
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with nary a glimmer of self-knowledge , ( crane ) becomes more specimen than character
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is a plodding mess
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and intermittently hilarious
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the extensive use of stock footage quickly becomes a tiresome cliché
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will dip into your wallet , swipe 90 minutes of your time , and offer you precisely this in recompense : a few early laughs scattered around a plot as thin as it is repetitious
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to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy
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ennui-hobbled
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middle and lurches between not-very-funny comedy , unconvincing dramatics
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to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's
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as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels , but stylish and moody
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touchingly
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if there 's no art here , it 's still a good yarn -- which is nothing to sneeze at these days .
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and even touching
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this is a monumental achievement in practically every facet of inept filmmaking : joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy .
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an energy to y tu mamá también
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, salvation and good intentions
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video , and so devoid of artifice and purpose that it appears not to have been edited at all
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fairly enjoyable
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incorporates rotoscope animation for no apparent reason except
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the proceedings as funny for grown-ups as for rugrats
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's not that funny --
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contrived , awkward and
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imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama
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a disaster
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a marvel of production design
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a spontaneity to the chateau , a sense of light-heartedness , that makes it attractive throughout
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slump
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to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
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her inventive director
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forget about one oscar nomination for julianne moore this year -
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too much to do , too little time to do it in
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entertaining and moving
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satan is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24/7 .
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poor ben bratt could n't find stardom if mapquest emailed him point-to-point driving directions .
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subject as monstrous and pathetic as dahmer
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a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography
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gets off with a good natured warning
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off-puttingly cold
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of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids
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a movie more to be prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms .
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something as splendid-looking as this particular film
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their parents would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes .
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generally insulting
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's never dull and always looks good .
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it reduces the complexities to bromides and slogans and it gets so preachy-keen and so tub-thumpingly loud it makes you feel like a chump just for sitting through it .
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a sharp movie about otherwise dull subjects
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the town has kind of an authentic feel , but each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial .
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the little chinese seamstress that transforms this story about love and culture into a cinematic poem
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bewilderingly brilliant and entertaining
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not good
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... visually striking and slickly staged
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jump-in-your-seat moment
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's no point in extracting the bare bones of byatt 's plot for purposes of bland hollywood romance .
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not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .
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grows decidedly flimsier with its many out-sized , out of character and logically porous action set pieces
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on a cutting room floor somewhere lies ... footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .
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over the past year , which means that birthday girl is the kind of quirkily appealing minor movie she might not make for a while
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, and enjoyable
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jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery
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particularly memorable
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references to faith and rainbows to plant smile-button faces on that segment of the populace that made a walk to remember a niche hit
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generally smart
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too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least )
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kung pow seems like some futile concoction that was developed hastily after oedekerk
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a reality-snubbing hodgepodge .
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to make absurdist observations
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's not only dull because we 've seen ( eddie ) murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed
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nothing more than four or five mild chuckles surrounded by 86 minutes of overly-familiar and poorly-constructed comedy .
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is a movie that starts out like heathers , then becomes bring it on , then becomes unwatchable
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is funny , touching , smart and complicated
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great help from kevin kline
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easier to sit through than most of jaglom 's self-conscious and gratingly irritating films
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a chilling tale of one of the great crimes of 20th century france : the murder of two rich women by their servants in 1933
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higher level
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a great performance and a reminder of dickens ' grandeur
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and more entertaining , too
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i do n't blame eddie murphy but should n't owen wilson know a movie must have a story and a script ?
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be a parody of gross-out flicks , college flicks , or even flicks in general
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well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances of the grieving process
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a breathtaking adventure for all ages , spirit tells its poignant and uplifting story in a stunning fusion of music and images .
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