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fans of the tv series will be disappointed , and everyone else will be slightly bored .
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the only element of suspense is whether the movie will change titles or distributors again before the closing credits roll .
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barely goes beyond comic book status .
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it's disappointing when filmmakers throw a few big-name actors and cameos at a hokey script .
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i spy is an embarrassment , a monotonous , disjointed jumble of borrowed plot points and situations . it's as flat as an open can of pop left sitting in the sun .
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an eccentric little comic/thriller deeply in love with its own quirky personality .
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afraid to pitch into farce , yet only half-hearted in its spy mechanics , all the queen's men is finally just one long drag .
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painfully padded .
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maybe it's the star power of the cast or the redundant messages , but something aboul " full frontal " seems , well , contrived .
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[morgan] , judd and franklin can't save the script , rooted in a novel by joseph finder , from some opportunism .
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the movie is obviously a labour of love so howard appears to have had free rein to be as pretentious as he wanted .
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passably entertaining but also mechanical and joyless .
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safe conduct , however ambitious and well-intentioned , fails to hit the entertainment bull's-eye .
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my response to the film is best described as lukewarm . maybe i found the proceedings a little bit too conventional .
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too timid to bring a sense of closure to an ugly chapter of the twentieth century .
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it's push-the-limits teen comedy , the type written by people who can't come up with legitimate funny , and it's used so extensively that good bits are hopelessly overshadowed .
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it's too long , too repetitive , and takes way too many years to resolve to be a total winner .
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a sudsy cautionary tale .
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a movie that tries to fuse the two 'woods' but winds up a bolly-holly masala mess .
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mr . wedge and mr . saldanha handle the mix of verbal jokes and slapstick well . their film falters , however , in its adherence to the disney philosophy of required poignancy , a salute that i'd hoped the movie would avoid .
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leaves you with a knot in your stomach , its power is undercut by its own head-banging obviousness .
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watching it is rather like an overlong visit from a large group of your relatives . as your relatives swap one mundane story after another , you begin to wonder if they are ever going to depart .
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unfortunately , as a writer , mr . montias isn't nearly as good to his crew as he is as a director or actor .
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on the right track to something that's creepy and effective . . . it's just going to take more than a man in a bullwinkle costume to get there .
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the only thing that could possibly make them less interesting than they already are is for them to get full montied into a scrappy , jovial team .
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one of those movies where you walk out of the theater not feeling cheated exactly , but feeling pandered to , which , in the end , might be all the more infuriating .
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. . . this movie has a glossy coat of action movie excess while remaining heartless at its core .
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murder by numbers is like a couple of mediocre tv-movie -of-the-week films clumsily stuck together .
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the film is surprisingly well-directed by brett ratner , who keeps things moving well -- at least until the problematic third act .
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warmed-over tarantino by way of wannabe elmore leonard .
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[sen's] soap opera-ish approach undermines his good intentions .
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showtime is one of the hapless victims of the arrogant " if we put together a wry white man and a chatty black man and give them guns , the movie will be funny " syndrome .
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sushi for the connoisseurs of the macabre .
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don't waste your money .
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though certainly original in form , altar boys requires a taste for swamp thing-type animation , doubled with a deafening score .
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there aren't many laughs in this interesting study of the cultural mores of georgian jews in tel aviv .
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there's not enough to sustain the comedy .
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like those to rome , all roads in the banger sisters inevitably lead to a joke about hawn's breasts , which constantly threaten to upstage the woman sporting them .
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we may get the full visceral impact of a ruthless army on the warpath but no sense of the devilish complexity of the balkans conflict .
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you're better off staying home and watching the x-files .
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chaotic , self-indulgent and remarkably ugly to look at , it's . . . like a series of pretentiously awful student films strung together into one feature-length horror .
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bears resemblance to , and shares the weaknesses of , too many recent action-fantasy extravaganzas in which special effects overpower cogent story-telling and visual clarity during the big action sequences .
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this is the type of movie best enjoyed by frat boys and college kids while sucking on the bong and downing one alcoholic beverage after another .
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friday after next has the same problem that next friday did -- it's called where's chris tucker when you need him ?
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this film is full of rabbits . brimful . but like most rabbits , it seems to lack substance .
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i weep for the future when a good portion of the respected critical community in this country consider blue crush to be an intelligent film about young women .
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i kept wishing i was watching a documentary about the wartime navajos and what they accomplished instead of all this specious hollywood hoo-ha .
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no number of fantastic sets , extras , costumes and spectacular locales can disguise the emptiness at the center of the story .
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a movie far more cynical and lazy than anything a fictitious charlie kaufman might object to .
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could the country bears really be as bad as its trailers ? in a word -- yes .
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if high crimes were any more generic it would have a universal product code instead of a title .
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reggio falls victim to relying on the very digital technology that he fervently scorns , creating a meandering , inarticulate and ultimately disappointing film .
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the movie makes absolutely no sense . its underlying mythology is a hodgepodge of inconsistencies that pose the question : since when did dumb entertainment have to be this dumb ?
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the problem with this film is that it's forced to make its characters idiots in order to advance the plot . had anyone here done anything remotely intelligent , we all could have stopped watching long ago .
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despite the authenticity of the trappings , the film is overblown in its plotting , hackneyed in its dialogue and anachronistic in its style .
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murder and mayhem of this sort quickly becomes monotonous .
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the journey toward redemption feels more like a cinematic experiment than a full-blown movie .
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that zhang would make such a strainingly cute film -- with a blind orphan at its center , no less -- indicates where his ambitions have wandered .
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the gantzes' interviews tend to let the guys off the hook .
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the streets , shot by cinematographer michael ballhaus , may be as authentic as they are mean , but it is nearly impossible to care about what happens on them .
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this is a good movie in spurts , but when it doesn't work , it's at important times .
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parker probably thinks he's shaking up a classic the way kenneth branagh and baz luhrmann have , but this half-hearted messing-about just makes us miss wilde's still-contemporary play .
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flotsam in the sea of moviemaking , not big enough for us to worry about it causing significant harm and not smelly enough to bother despising .
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a tv episode inflated past its natural length .
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involving at times , but lapses quite casually into the absurd .
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all these developments and challenges facing santa weigh down the plot so heavily that they drain all the film of its energy and needlessly strain credibility .
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anemic , pretentious .
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there are weird resonances between actor and role here , and they're not exactly flattering .
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the unceasing sadism is so graphically excessive , the director just ends up exposing his own obsession .
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the story . . . is moldy and obvious .
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it's drained of life in an attempt to be sober and educational , and yet it's so devoid of realism that its lack of whistles and bells just makes it obnoxious and stiff .
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suffocated at conception by its munchausen-by-proxy mum . punish the vehicle to adore the star .
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even if britney spears is really cute , her movie is really bad .
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big fat liar is just futile silliness looking to tap into the kiddie sensibilities .
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usually when i get this much syrup , i like pancakes to go with it .
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all the necessary exposition prevents the picture from rising above your generic sand 'n' sandal adventure .
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glib , satirical documentary that fudges facts , makes facile points and engages in the cinematic equivalent of tabloid journalism .
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gangs of new york is an unapologetic mess , whose only saving grace is that it ends by blowing just about everything up .
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an overblown clunker full of bad jokes , howling cliches and by-the-numbers action sequences .
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without a strong script and energetic acting , dogma films can produce the same sleep-inducing effects as watching your neighbor's home videos .
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a mild , reluctant , thumbs down .
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strong setup and ambitious goals fade as the film descends into unsophisticated scare tactics and b-film thuggery .
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schindler's list it ain't .
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a cinematic sleeping pill of impressive potency .
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it's an awfully derivative story .
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the movie barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .
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it's an earnest debut full of heartfelt performances , but is ultimately let down by a story that is all too predictable .
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about as cutting-edge as pet rock : the movie .
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with generic sets and b-grade special effects , jason is about as convincing on the sci-fi front as tv's defunct cleopatra 2525 .
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not sweet enough to liven up its predictable story and will leave even fans of hip-hop sorely disappointed .
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winds up feeling like lots of other quirky movies that try to score hipness points with young adults .
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oft-described as the antidote to american pie-type sex comedies , it actually has a bundle in common with them , as the film diffuses every opportunity for a breakthrough
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the pacing is glacial , the screenplay is stiff as a board , and things heat up only in the movie's final scenes .
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the premise is overshadowed by the uberviolence of the clericks as this becomes just another kung-fu sci-fi movie with silly action sequences .
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with its hints of a greater intelligence lurking somewhere , the ring makes its stupidity more than obvious . it's painful .
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pumpkin struts about with " courage " pinned to its huckster lapel while a yellow streak a mile wide decorates its back .
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an uneven film dealing with too many problems to be taken seriously .
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sheridan . . . smoothes over sources of conflict that could have lent the film a bit more depth .
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an atonal estrogen opera that demonizes feminism while gifting the most sympathetic male of the piece with a nice vomit bath at his wedding .
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half of it is composed of snappy patter and pseudo-sophisticated cultural observations , while the remainder . . . would be more at home on a daytime television serial .
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