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it's hard to fairly judge a film like ringu when you've seen the remake first . many of the effective horror elements are dampened through familiarity , [yet] are worthwhile .
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one of the very best movies ever made about the life of moviemaking .
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rarely does such high-profile talent serve such literate material .
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an elegant and sly deadpan comedy .
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the way 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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land , people and narrative flow together in a stark portrait of motherhood deferred and desire explored .
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'blue crush' swims away with the sleeper movie of the summer award .
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you're not merely watching history , you're engulfed by it .
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a chick flick for guys .
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it's mildly entertaining , especially if you find comfort in familiarity . but it's hardly a necessary enterprise .
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the quiet american isn't a bad film , it's just one that could easily wait for your pay per view dollar .
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as home movie gone haywire , it's pretty enjoyable , but as sexual manifesto , i'd rather listen to old tori amos records .
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in its treatment of the dehumanizing and ego-destroying process of unemployment , time out offers an exploration that is more accurate than anything i have seen in an american film .
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like an episode of mtv's undressed , with 20 times the creativity but without any more substance . . . indulgently entertaining but could have and should have been deeper .
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deliciously slow .
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a sensitive , cultivated treatment of greene's work as well as a remarkably faithful one .
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it's not just a feel-good movie , it's a feel movie . you feel good , you feel sad , you feel pissed off , but in the end , you feel alive - which is what they did .
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it's a piece of handiwork that shows its indie tatters and self-conscious seams in places , but has some quietly moving moments and an intelligent subtlety .
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what makes barbershop so likable , with all its flaws , is that it has none of the pushiness and decibel volume of most contemporary comedies .
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watching these two actors play against each other so intensely , but with restraint , is a treat .
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an example of quiet , confident craftsmanship that tells a sweet , charming tale of intergalactic friendship .
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a meditation on faith and madness , frailty is blood-curdling stuff .
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the production design , score and choreography are simply intoxicating .
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a comedy that is warm , inviting , and surprising .
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so vivid a portrait of a woman consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt .
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suspend your disbelief here and now , or you'll be shaking your head all the way to the credits .
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trades run-of-the-mill revulsion for extreme unease .
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. . . one of the more influential works of the 'korean new wave' .
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implicitly acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses , and for that reason it may be the most oddly honest hollywood document of all .
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a beautifully tooled action thriller about love and terrorism in korea .
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director-writer bille august . . . depicts this relationship with economical grace , letting his superb actors convey martin's deterioration and barbara's sadness -- and , occasionally , anger .
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victor rosa is leguizamo's best movie work so far , a subtle and richly internalized performance .
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birthday girl doesn't try to surprise us with plot twists , but rather seems to enjoy its own transparency .
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smart , funny and just honest enough to provide the pleasures of a slightly naughty , just-above-average off- broadway play .
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topics that could make a sailor blush - but lots of laughs .
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michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and he's got as potent a topic as ever here .
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a fine production with splendid singing by angela gheorghiu , ruggero raimondi , and roberto alagna .
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about a boy vividly recalls the cary grant of room for one more , houseboat and father goose in its affectionate depiction of the gentle war between a reluctant , irresponsible man and the kid who latches onto him .
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none of this is meaningful or memorable , but frosting isn't , either , and you wouldn't turn down a big bowl of that , would you ?
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the film is a fierce dance of destruction . its flame-like , roiling black-and-white inspires trembling and gratitude .
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a riveting documentary .
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may lack the pungent bite of its title , but it's an enjoyable trifle nonetheless .
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. . . manages to fall closer in quality to silence than to the abysmal hannibal .
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you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .
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diane lane works nothing short of a minor miracle in unfaithful .
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takashi miike keeps pushing the envelope : ichi the killer
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a fantastic premise anchors this movie , but what it needs is either a more rigid , blair witch-style commitment to its mockumentary format , or a more straightforward , dramatic treatment , with all the grandiosity that that implies .
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exhilarating but blatantly biased .
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much of what we see is horrible but it's also undeniably exceedingly clever .
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it understands , in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking .
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ramsay succeeds primarily with her typical blend of unsettling atmospherics , delivering a series of abrasive , stylized sequences that burn themselves upon the viewer's memory .
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. . . a thoughtful what-if for the heart as well as the mind .
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like its bizarre heroine , it irrigates our souls .
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hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .
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it's a fun adventure movie for kids ( of all ages ) that like adventure .
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a very capable nailbiter .
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because the genre is well established , what makes the movie fresh is smart writing , skewed characters , and the title performance by kieran culkin .
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" white oleander , " the movie , is akin to a reader's digest condensed version of the source material .
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it's like going to a house party and watching the host defend himself against a frothing ex-girlfriend . you don't want to call the cops . you want to call domino's .
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what's most refreshing about real women have curves is its unforced comedy-drama and its relaxed , natural-seeming actors .
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the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .
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secretary is just too original to be ignored .
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that rare film whose real-life basis is , in fact , so interesting that no embellishment is needed .
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smart and fun , but far more witty than it is wise .
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this isn't a stand up and cheer flick ; it's a sit down and ponder affair . and thanks to kline's superbly nuanced performance , that pondering is highly pleasurable .
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originality ain't on the menu , but there's never a dull moment in the giant spider invasion comic chiller .
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walter hill's undisputed is like a 1940s warner bros . b picture , and i mean that as a compliment .
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this one is not nearly as dreadful as expected . in fact , it's quite fun in places .
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with elements cribbed from lang's metropolis , welles' kane , and eisenstein's potemkin , the true wonder of rintarô's metropolis is the number of lasting images all its own .
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a biopic about crane's life in the classic tradition but evolves into what has become of us all in the era of video .
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the best of the pierce brosnan james bond films to date .
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thanks to a small star with big heart , this family film sequel is plenty of fun for all .
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while the now 72-year-old robert evans been slowed down by a stroke , he has at least one more story to tell : his own .
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it's about individual moments of mood , and an aimlessness that's actually sort of amazing .
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the people in jessica are so recognizable and true that , as in real life , we're never sure how things will work out .
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a tone poem of transgression .
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creeps you out in high style , even if nakata did it better .
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rubbo runs through a remarkable amount of material in the film's short 90 minutes .
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visually engrossing , seldom hammy , honorably mexican and burns its kahlories with conviction .
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this is christmas future for a lot of baby boomers .
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despite a quieter middle section , involving aragorn's dreams of arwen , this is even better than the fellowship . there are scenes of cinematic perfection that steal your heart away .
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spider-man is in the same category as x-men - occasionally brilliant but mostly average , showing signs of potential for the sequels , but not giving us much this time around .
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the obnoxious title character provides the drama that gives added clout to this doc .
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an enjoyable experience .
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anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .
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the fun of the movie is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad .
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'si bien no logra desarrollarse como un gran drama , tampoco es tan superficial como muchas cintas que pecan de pretenciosas y que resultan totalmente banales . '
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saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory .
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it's something of the ultimate scorsese film , with all the stomach-turning violence , colorful new york gang lore and other hallmarks of his personal cinema painted on their largest-ever historical canvas .
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mr . caine and mr . fraser are the whole show here , with their memorable and resourceful performances .
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a frustrating yet deeply watchable melodrama that makes you think it's a tougher picture than it is .
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a giddy and provocative sexual romp that has something to say .
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[russell] makes good b movies ( the mask , the blob ) , and the scorpion king more than ably meets those standards .
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otto-sallies has a real filmmaker's eye .
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this is a smart movie that knows its classical music , knows its freud and knows its sade .
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the film has an infectious enthusiasm and we're touched by the film's conviction that all life centered on that place , that time and that sport .
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beautifully reclaiming the story of carmen and recreating it an in an african idiom .
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the camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm .
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a flawed but engrossing thriller .
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demonstrates the unusual power of thoughtful , subjective filmmaking .
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