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an instant candidate for worst movie of the year .
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when you find yourself rooting for the monsters in a horror movie , you know the picture is in trouble .
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it 's a fun adventure movie for kids ( of all ages ) that like adventure .
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paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .
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overall , it 's a wacky and inspired little film that works effortlessly at delivering genuine , acerbic laughs .
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i ca n't say this enough : this movie is about an adult male dressed in pink jammies .
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an estrogen opera so intensely feminine that it serves as the antidote ( and cannier doppelganger ) to diesel 's xxx flex-a-thon .
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informative , intriguing , observant , often touching . . . gives a human face to what 's often discussed in purely abstract terms .
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like an afterschool special with costumes by gianni versace , mad love looks better than it feels .
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there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .
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it 's dumb , but more importantly , it 's just not scary .
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a genuinely funny ensemble comedy that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives .
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it 's a terrific american sports movie and dennis quaid is its athletic heart .
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if you grew up on scooby -- you 'll love this movie . matthew lillard is born to play shaggy !
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diane lane works nothing short of a minor miracle in unfaithful .
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hard as this may be to believe , here on earth , a surprisingly similar teen drama , was a better film .
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the film is so packed with subplots involving the various silbersteins that it feels more like the pilot episode of a tv series than a feature film .
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this story of a determined woman 's courage to find her husband in a war zone offers winning performances and some effecting moments .
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what a dumb , fun , curiously adolescent movie this is .
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intimate and panoramic .
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everyone 's to blame here .
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a compelling , moving film that respects its audience and its source material .
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pure cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and swooning elegance .
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[ seagal 's ] strenuous attempt at a change in expression could very well clinch him this year 's razzie .
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little more than a super-sized infomercial for the cable-sports channel and its summer x games .
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it is depressing , ruthlessly pained and depraved , the movie equivalent of staring into an open wound .
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the plot is so predictable and sentimental that viewers are likely to lose interest before sandrine and her goats walk off into the sunset .
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that the chuck norris `` grenade gag `` occurs about 7 times during windtalkers is a good indication of how serious-minded the film is .
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best of all is garcia , who perfectly portrays the desperation of a very insecure man .
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i do n't even care that there 's no plot in this antonio banderas-lucy liu faceoff . it 's still terrible !
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brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .
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an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
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it 's deep-sixed by a compulsion to catalog every bodily fluids gag in there 's something about mary and devise a parallel clone-gag .
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if the film has a problem , its shortness disappoints : you want the story to go on and on .
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for all its problems . . . the lady and the duke surprisingly manages never to grow boring . . . which proves that rohmer still has a sense of his audience .
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there 's none of the happily-ever -after spangle of monsoon wedding in late marriage -- and that 's part of what makes dover kosashvili 's outstanding feature debut so potent .
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it 's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating , involving character study , but never does more than scratch the surface .
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beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics .
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i am not generally a huge fan of cartoons derived from tv shows , but hey arnold ! the movie is clever , offbeat and even gritty enough to overcome my resistance .
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a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .
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almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent .
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sitting in the third row of the imax cinema at sydney 's darling harbour , but i sometimes felt as though i was in the tiny two seater plane that carried the giant camera around australia , sweeping and gliding , banking and hovering over some of the most not
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confessions is without a doubt a memorable directorial debut from king hunk .
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for a movie audience , the hours does n't connect in a neat way , but introduces characters who illuminate mysteries of sex , duty and love .
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a charming and funny story of clashing cultures and a clashing mother/daughter relationship .
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the furious coherence that [ deniro ] brings to this part only underscores the fuzzy sentimentality of the movie itself , which feels , as it plods toward the end , less like a movie than like the filmed reading of a script in need of polishing .
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intelligent and moving .
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unfortunately , kapur modernizes a . e . w . mason 's story to suit the sensibilities of a young american , a decision that plucks `` the four feathers `` bare .
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imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor . the result might look like vulgar .
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it 's a setup so easy it borders on facile , but keeping the film from cheap-shot mediocrity is its crack cast .
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the only way to tolerate this insipid , brutally clueless film might be with a large dose of painkillers .
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worth a look by those on both sides of the issues , if only for the perspective it offers , one the public rarely sees .
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a compelling pre-wwii drama with vivid characters and a warm , moving message .
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it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .
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the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .
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even on those rare occasions when the narrator stops yammering , miller 's hand often feels unsure .
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there is simply no doubt that this film asks the right questions at the right time in the history of our country .
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does paint some memorable images . . . , but makhmalbaf keeps her distance from the characters
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the actors do n't inhabit their roles -- they 're trapped by them , forced to change behavior in bizarre unjustified fashion and spout dialog that consists mostly of platitudes .
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witty , contemplative , and sublimely beautiful .
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even with harris 's strong effort , the script gives him little to effectively probe lear 's soul-stripping breakdown .
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the soul-searching deliberateness of the film , although leavened nicely with dry absurdist wit , eventually becomes too heavy for the plot .
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the heat of the moment prevails . it cooks conduct in a low , smoky and inviting sizzle .
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a vivid , spicy footnote to history , and a movie that grips and holds you in rapt attention from start to finish .
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although the sequel has all the outward elements of the original , the first film 's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks .
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empire ca n't make up its mind whether it wants to be a gangster flick or an art film . it does n't work as either .
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a horrible , 99-minute stink bomb .
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punitively affirmational parable .
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a meatier deeper beginning and/or ending would have easily tipped this film into the `` a `` range , as is , it 's a very very strong `` b+ . `` i love the robust middle of this picture .
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a miraculous movie , i 'm going home is so slight , yet overflows with wisdom and emotion .
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the film 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 . the difference is that i truly enjoyed most of mostly martha while i ne
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daring and beautifully made .
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the kind of trifle that date nights were invented for .
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an engaging , formulaic sports drama that carries a charge of genuine excitement .
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beers , who , when she 's given the right lines , can charm the paint off the wall . . . [ but ] the script goes wrong at several key junctures .
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like a precious and finely cut diamond , magnificent to behold in its sparkling beauty yet in reality it 's one tough rock .
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the huskies are beautiful , the border collie is funny and the overall feeling is genial and decent .
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however stale the material , lawrence 's delivery remains perfect ; his great gift is that he can actually trick you into thinking some of this worn-out , pandering palaver is actually funny .
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solondz may be convinced that he has something significant to say , but he is n't talking a talk that appeals to me .
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it uses some of the figures from the real-life story to portray themselves in the film . the result is a powerful , naturally dramatic piece of low-budget filmmaking .
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though it runs 163 minutes , safe conduct is anything but languorous . it 's packed to bursting with incident , and with scores of characters , some fictional , some from history .
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maelstrom is a deliberately unsteady mixture of stylistic elements .
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the locale . . . remains far more interesting than the story at hand .
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a compelling motion picture that illustrates an american tragedy .
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a huge disappointment coming , as it does , from filmmakers and performers of this calibre
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another useless recycling of a brutal mid-'70s american sports movie .
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the movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension .
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it 's mildly amusing , but i certainly ca n't recommend it .
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it 's hard to tell with all the crashing and banging where the salesmanship ends and the movie begins .
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is n't it a bit early in his career for director barry sonnenfeld to do a homage to himself ? and it 's a lousy one at that .
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a sexy , peculiar and always entertaining costume drama set in renaissance spain , and the fact that it 's based on true events somehow makes it all the more compelling .
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once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale .
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. . . could easily be called the best korean film of 2002 .
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no way i can believe this load of junk .
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a painfully slow cliche-ridden film filled with more holes than clyde barrow 's car .
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meyjes ' provocative film might be called an example of the haphazardness of evil .
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unintelligible , poorly acted , brain-slappingly bad , harvard man is ludicrous enough that it could become a cult classic .
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told in scattered fashion , the movie only intermittently lives up to the stories and faces and music of the men who are its subject .
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`hey arnold ! ' has some visual wit . . . but little imagination elsewhere .
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it dares to be a little different , and that shading is what makes it worthwhile .
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