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fluffy neo-noir hiding behind cutesy film references
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to vaporize from your memory minutes after it ends
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a ponderous and pretentious endeavor that 's unfocused and tediously exasperating
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enjoyable film
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flexible
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the corniest
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the roundelay of partners functions , and the interplay within partnerships and among partnerships and the general air of gator-bashing are consistently delightful .
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honorably mexican and burns its kahlories with conviction .
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date-night diversion
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welcome step
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oddly colorful and
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does n't add up .
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comes off as insultingly simplistic
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wretchedly unfunny wannabe comedy
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like a powerful 1957 drama we 've somehow never seen before
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but in terms of its style , the movie is in a class by itself
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still seems timely and important .
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let you bask in your own cleverness as you figure it out
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clockstoppers if you have nothing better to do with 94 minutes
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will indeed sit open-mouthed before the screen , not screaming but yawning
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mostly fool 's
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did n't care .
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flashes of warmth and gentle humor
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it 's a long way from orwell 's dark , intelligent warning cry ( 1984 ) to the empty stud knockabout of equilibrium , and what once was conviction is now affectation .
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the stunt work is top-notch ; the dialogue and drama often food-spittingly funny
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a prison comedy that never really busts out of its comfy little cell
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, really , really good things can come in enormous packages
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such a dependable concept was botched in execution
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numbingly dull-witted and disquietingly creepy
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watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say , when carol kane appears on the screen .
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it 's self-defeatingly decorous
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it 's far tamer than advertised
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inexpressive
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satisfying conclusions
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follows the formula , but throws in too many conflicts to keep the story compelling .
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it concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt .
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a retread
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nemesis
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do n't work in concert .
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miss wonton floats beyond reality with a certain degree of wit and dignity
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does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes
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the movie 's biggest shocks come from seeing former nymphette juliette lewis playing a salt-of-the-earth mommy named minnie and watching slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell .
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given too much time to consider the looseness of the piece
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explores the awful complications of one terrifying day
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tells this very compelling tale with little fuss or noise
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nurtures the multi-layers of its characters
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and in a sense , that 's a liability .
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be about everything that 's plaguing the human spirit in a relentlessly globalizing world
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( russell ) makes good b movies ( the mask , the blob )
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, this is sure to raise audience 's spirits and leave them singing long after the credits roll .
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there 's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme .
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funny , triumphant ,
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a tragic dimension
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irrelevant as on the engaging , which gradually turns what
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most convincing emotional gravity from a scene where santa gives gifts to grownups
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that 's a liability .
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that is as difficult for the audience to take as it
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forced to reflect that its visual imagination is breathtaking
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and your reward will be a thoughtful , emotional movie experience .
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over-the-top , and amateurish
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tasty and sweet
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a colorful , joyous celebration of life ; a tapestry woven of romance , dancing , singing , and unforgettable characters .
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i love the opening scenes of a wintry new york city in 1899 .
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almost humdrum approach
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becomes a bit of a mishmash
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electrocute and dismember
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, it still works .
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its intended audience has n't yet had much science
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sharp comedy , old-fashioned monster movie atmospherics ,
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the film does n't have enough innovation or pizazz to attract teenagers
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utterly incompetent conclusion
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is impenetrable and dull
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the film has a laundry list of minor shortcomings
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ignore
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delivering a dramatic slap
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through all too painfully
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great material for a film -- rowdy , brawny and lyrical in the best irish sense
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a cold-hearted curmudgeon for not being able to enjoy a mindless action movie
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be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )
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a-list players
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a fascinating study
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sexually explicit
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deserve the energy it takes to describe how bad it is
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( taymor ) utilizes the idea of making kahlo 's art a living , breathing part of the movie , often catapulting the artist into her own work .
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just a string of stale gags , with no good inside dope , and no particular bite .
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comes far closer than many movies to expressing the way many of us live -- someplace between consuming self-absorption and insistently demanding otherness .
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construct a story
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the mood is laid back
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tormented by his heritage
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the performances are strong , though the subject matter demands acting that borders on hammy at times .
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café
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in his charming 2000 debut shanghai noon
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pretentious .
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it turns out to be significantly different ( and better ) than most films with this theme
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to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness
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3000
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although it includes a fair share of dumb drug jokes and predictable slapstick
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vivid characters and a warm , moving message
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it 's a bad action movie because there 's no rooting interest and the spectacle is grotesque and boring .
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found the movie as divided against itself
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