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nair 's attention to detail
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its leaden acting , dull exposition and telegraphed ` surprises
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a moving tragedy with some buoyant human moments
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's not as obnoxious as tom green 's freddie got fingered
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a retread story , bad writing
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a kids-and-family-oriented cable channel
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a dark-as-pitch comedy that frequently veers into corny sentimentality , probably
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a fascinating
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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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oscar-sweeping franchise predecessor
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sluggish
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than a mall movie designed to kill time
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what allows it to rank with its worthy predecessors
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a delightfully unpredictable , hilarious comedy with wonderful performances that tug at your heart in ways that utterly transcend gender
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crassly flamboyant
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hilarious kenneth branagh
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grant is n't cary and bullock is n't katherine
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( has ) an immediacy and an intimacy that sucks you in and dares you not to believe it
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ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents ...
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enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins
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direct-to-video/dvd
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enjoying
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lies ... footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire
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is consistently amusing and engrossing
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not smart or barbed enough for older viewers
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its magic
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time stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable .
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as sharp as a samurai sword
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are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk .
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would ever work in a mcculloch production again if they looked at how this movie turned out
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female population
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completely awful iranian drama ... as much fun as a grouchy ayatollah in a cold mosque .
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seems twice as long as its 83 minutes
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those of you who are not an eighth grade girl will most likely doze off during this one .
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it makes my big fat greek wedding look like an apartheid drama
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noticeably less
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it has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references .
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a gently funny , sweetly adventurous film that makes you feel genuinely good , that is to say ,
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during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness
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alternately touching and funny
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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
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our emotions
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the last thing you would expect from a film with this title or indeed from any plympton film : boring
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directed and convincingly acted
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like leafing through an album of photos
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that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep
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of humor , verve and fun
1
a small fortune in salaries and stunt cars might have been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek ) .
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deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip
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cacoyannis ' vision is far less mature , interpreting the play as a call for pity and sympathy for anachronistic phantasms haunting the imagined glory of their own pasts .
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a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day
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the movie is busy contriving false , sitcom-worthy solutions to their problems .
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any movie with a life-affirming message
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to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama
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charge money for this ?
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pokes fun at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables -- without much success
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saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek )
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an emotionally strong and politically potent piece
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a treatise on spirituality as well as a solid sci-fi thriller
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a dim-witted and lazy spin-off
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a tart , smart breath of fresh air
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has created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history .
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scratch a hole in your head
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settles too easily along the contours of expectation
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this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come .
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softheaded metaphysical claptrap
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contrived and predictable
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he 's just a sad aristocrat in tattered finery , and the film seems as deflated as he does .
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walked away not really know who `` they '' were , what `` they '' looked like
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marveling
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noticeable lack
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the characters are n't interesting enough to watch them go about their daily activities for two whole hours
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wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick
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still fun and enjoyable
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the story line may be 127 years old , but el crimen del padre amaro ... could n't be more timely in its despairing vision of corruption within the catholic establishment
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but for the most part , the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
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the elements were all there but lack of a pyschological center knocks it flat
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its subject matter is too calm and thoughtful for agitprop , and the thinness of its characterizations makes it a failure as straight drama . '
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writer and director otar iosseliani 's pleasant tale about a factory worker who escapes for a holiday in venice reveals how we all need a playful respite from the grind to refresh our souls .
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high-profile talent
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but a little too smugly
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otherwise this is the best ` old neighborhood ' project since christopher walken kinda romanced cyndi lauper in the opportunists
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is offensive , puerile and unimaginatively foul-mouthed
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a film you will never forget
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's ) a clever thriller with enough unexpected twists to keep our interest
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as deflated as he does
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a comedy as i 've seen in a while , a meander through worn-out material
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it 's also not very good .
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this masterfully calibrated psychological thriller
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cho 's latest comic set is n't as sharp or as fresh as i 'm the one that i want ... but it 's still damn funny stuff .
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two big things are missing -- anything approaching a visceral kick , and anything approaching even a vague reason to sit through it all .
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the bad sound , the lack of climax and , worst of all , watching seinfeld ( who is also one of the film 's producers ) do everything he can to look like a good guy
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do we have that same option to slap her creators because they 're clueless and inept ?
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suffers from unlikable characters and a self-conscious sense of its own quirky hipness
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broomfield is energized by volletta wallace 's maternal fury , her fearlessness , and because of that , his film crackles
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even if you 're an agnostic carnivore , you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .
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lan yu lacks a sense of dramatic urgency
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tnt
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murphy do the genial-rogue shtick to death
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downhill as soon as macho action conventions assert themselves
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