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almost every relationship and personality in the film yields surprises .
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awkward structure
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idea ( of middle-aged romance ) is not handled well and
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of the most highly-praised disappointments i
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more timely than its director could ever have dreamed
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the nation
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cooks conduct in a low , smoky and inviting sizzle
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robert harmon 's less-is-more approach delivers real bump-in - the-night chills -- his greatest triumph is keeping the creepy crawlies hidden in the film 's thick shadows
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make mel brooks ' borscht belt schtick look sophisticated
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the genius
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plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .
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heartwarming
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intriguing
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emphasizes the well-wrought story and omits needless chase scenes and swordfights as the revenge unfolds .
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( the film ) works , due mostly to the tongue-in-cheek attitude of the screenplay
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, painful , obnoxious
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to compensate for the paper-thin characterizations and facile situations
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makes the silly original cartoon seem smart and well-crafted in comparison
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all the characters are clinically depressed and have abandoned their slim hopes and dreams .
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the biggest names in japanese anime ,
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the film fits into a genre that has been overexposed , redolent of a thousand cliches , and yet remains uniquely itself , vibrant with originality .
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astounds
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suggest possibilities which imbue the theme with added depth and resonance
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interminably
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odds with the rest of the film
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the ultimate imax trip
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blue crush has all the trappings of an energetic , extreme-sports adventure , but 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 .
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xerox of other , better crime movies
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an instance of an old dog not only learning but inventing a remarkable new trick .
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knockoff
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spirited
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the thought of watching this film with an audience full of teenagers fixating on its body humor and reinforcement of stereotypes ( of which they 'll get plenty ) fills me with revulsion .
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is a dud -- a romantic comedy that 's not the least bit romantic and only mildly funny .
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are very expressive .
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's more enjoyable than i expected
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) profound ethical and philosophical questions in the form of dazzling pop entertainment
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snide and
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is too much of a plunge
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is one of the best actors there is
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is loopy and ludicrous ...
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above-average
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a rare and lightly entertaining look behind the curtain that separates comics from the people laughing in the crowd .
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it reaffirms life as it looks in the face of death .
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one look at a girl in tight pants and big tits and you turn stupid ?
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that craven endorses they simply because this movie makes his own look much better by comparison
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c.h.o. cho proves she has the stuff to stand tall with pryor , carlin and murphy .
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's waltzed itself into the art film pantheon .
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the man
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is marveilleux
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the cat 's meow
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choke
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may take its sweet time to get wherever it 's going
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's unlikely to become a household name on the basis of his first starring vehicle .
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enthusiastically
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however , manages just to be depressing , as the lead actor phones in his autobiographical performance .
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a smart , steamy mix of road movie , coming-of-age story and political satire .
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, laissez-passer has all the earmarks of french cinema at its best .
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made every effort to disguise it as an unimaginative screenwriter 's invention
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that rare movie that works on any number of levels --
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hate the feeling of having been slimed in the name of high art
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satin rouge is not a new , or inventive , journey , but
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is throwing up his hands in surrender , is firing his r&d people ,
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real-life basis is , in fact , so interesting that no embellishment is
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its own preciousness
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work more than it probably should
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, non-exploitive approach
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is a welcome lack of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure
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a tired , predictable , bordering on offensive , waste of time , money and celluloid .
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is generally quite funny
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seem heroic deserves a look
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whimsicality
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of gently swaying back and forth as it cradles its characters , veiling tension beneath otherwise tender movements
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is without doubt an artist of uncompromising vision , but that vision is beginning to feel , if not morally bankrupt , at least terribly monotonous
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playfully profound ...
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suited to a quiet evening on pbs than a night out at an amc .
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the movie eventually gets around to its real emotional business , striking deep chords of sadness .
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take you places you have n't been , and also places you have
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hit that may strain adult credibility
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without cheesy fun factor .
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the plot is paper-thin and the characters are n't interesting enough to watch them go about their daily activities for two whole hours .
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is the fact that there is nothing distinguishing in a randall wallace film .
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there is one word that best describes this film : honest .
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( and probably should have )
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long , intricate , star-studded
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attractive
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ingenious and often
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is a powerful , naturally dramatic piece of low-budget filmmaking .
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the worthy successor to a better tomorrow and the killer which they have been patiently waiting for
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imagine ( if possible ) a pasolini film without passion or politics
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, without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision
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an honest , sensitive story from a vietnamese point of view
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efficient
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weaves both the elements of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise .
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piercingly affecting ... while clearly a manipulative film , emerges as powerful rather than cloying
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a comedic moment
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a fascinating curiosity piece -- fascinating ,
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he is an imaginative filmmaker who can see the forest for the trees
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what 's surprising about this traditional thriller , moderately successful but not completely satisfying , is exactly how genteel and unsurprising the execution turns out to be .
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ash wednesday is not edward burns ' best film , but it is a good and ambitious film
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fashion a brazil-like , hyper-real satire
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