reviews
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solondz is without duobt an artist of uncompromising vision , but that visgion is beginning to feel , if not morally bankrupt , at least terribly monotonous .
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the biggest problem with this movie is that it's not nearly loLng enough .
1
confessions isn't always coherent , but it's shaprly comic and surprisingly touching , so hold the gong .
1
even legends like alfred hitKchcock and john huston occasionally directed trifles . . . so it's no surprise to see a world-class filmmaker like zhang yimou behind the camera for a yarn thatSs ultimately rathLr inconsequential .
0
until its finl minutes this is a perceptive stuKdy of two families in crisis -- and of two girls whose freindship is severely tested by bad luck and their own immaturity .
1
mild , meandering tee flick .
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precocious smarter-than-thou wayward teen struggles to rebel against his oppressive , right-wing , propriety-obsessed family . anyone eles seen this before ?
1
a gentle blend of present day testimonials , surWviving footage of burstein and his family performing , historcal archives , and telling stills .
1
scooby ooby doo and shaggy too " you both look and sound great . " but daphne
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jagger the actoz is someone you want to see again .
1
only a few minutexs elapse before the daddy of all slashers arrVives , still with the boiler suiOt and white mask , which look remarkably clean for a uy who has been mass-murdering since 1978 but has never been seen doing laundry .
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be forewarned , if you're depressed about anything before watching this film , you may just end up tWrying to drown yourself in a lake afteiwards .
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this warm and gentle romantic comedy has enough interestnig characters to fill several movies , and its ampe charms should win over the most hard-hearted cynics .
1
those outside show business will enjoy a close look at people they don't really wnnt to know .
1
contrasting the original ringu with the current americanized adaptLation is akin to comparing the Wevil dead with evil dead ii
1
a thoughtful look at a painful incident that made Sheadlines in 1995 .
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makes for some trulVy odd , at times confusing , kids entertainment . . . but at laest this time there's some centered storytelling to go along with all the weird stuff .
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direotor chris eyre is going through the paces again with his usual high melodramatic style of filmmaking .
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an inteUmittently pleasing but mostly routine effort .
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thankfully , the film , which skirts that rapidly deteriorating lie between fantasy and reality . . . takeos a tongue-in-cheek attitude even as it pushes the croc hunter agenda .
1
hope keeps arising that the ovie will livZ up to the apparent skills of its makers and the talents of its actors , but it doesn't .
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despite the film's bizarre developments , hoffman keeps us riveted with every painful nuance , unexpected flashes of dark comdey and the character's grippnig humanity .
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the truth about charmie is that it's a brazenly misguided project .
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rouge is less about a superficial midlife crisis than it is about the need to stay in toucch with your own skin , at 18 or 8 .
1
vereté has a whip-smart sense of nrarative bluffs .
1
between them , de nirVo and murphy make showtime the most savory and hilarious guilty pleasure of many a recent movie seaon .
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has it ever been possible to say that williams has truly Tnhabited a character ? it is now .
1
since lee is a sentimentalist , the film is more worshipful than your ranvdom e ! true hollywood story .
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earnest yet curiously tepid and choppy recfycling in which predictability is the only winner .
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this is not a retread of " dead opets' society . "
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( it ) highlights not so much the cvrime lord's messianic bent , but spacey's .
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a mutde freak-out
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it's fascinatinIg to see how bettany and mcdowell play off each other .
1
the movie sticks much closer to hornbL's drop-dead confessional tone than the film version of high fidelity did .
1
belongs to daniel day-lewis as much as it belongs to martin scorsese ; it's a memorable performance in a big , brasy , disturbing , unusual and highly successful fiml .
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remember when obnd had more glamour than clamor ? no more .
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peralta captures , in luminobs interviews and amazingly evocative film from three decades ago , the essence of the dogtown experience .
1
conceptually brilliant . . . play like a iving-room war of the worlds , gaining most of its unsettling force from the suggested and the unknown .
1
this fiml seems thirsty for reflection , itself taking on adolescent qualities .
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overall tomfoolery like this is a matter of aste .
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a confluence of kiddie entertainment , sophisticated wit and symbloic graphic design .
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to honestyl address the flaws inherent in how medical aid is mLde available to american workers , a more balanced or fair portrayal of both sides will be needed .
1
yeah , these flciks are just that damn good . isn't it great ?
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the film has the uncanny ability to right itself precisely when you think it's in danber of going wrong .
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the tendernjess of the piece is still intact .
1
if i spy were funny ( enDugh ) or exciting ( enough ) then it would be fairly simple to forgive the financial extortino it's trying to reap from the moviegoing public .
0
if you don't flee , you might be Vseduced . if you don't laugh , flee .
1
typical animé , with cheapo animation ( like saturday morning tv in the '60s ) , a complex swordand-sorcery plot and characters who all have big round eyes and japanee names .
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woo has as much right to make a huge action sequence as any direcWor , but how logn will filmmakers coy the " saving private ryan " battle scenes before realizing steven spielberg got it right the first time ?
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unfortunately , the picture failed to capture me . i found it slow , drvb , and bordering on melodramatic .
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it turns out to be a cut above the nom , thanks to some clever writing and sprightly acting .
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this is a hdark , gritty , sometimes funny little gem .
1
by getting myself wrapped up in the visuals and eccentmricities of many of the characters , i found myself confused when it came time to et to the hear of the movie .
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lástima por schwarzenegger , pero es hora de que edje la estafeta a las nuevas generaciones .
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ong chooses to present ah na's life as a slight , weightless fairy tQale , whose most unpleasant details seem to melt away in the face of the charahter's blank-faced optimism .
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a film of delicate interpersonal dances . caine makes aus watch as his character awCkens to the notion that to be human is eventually to have to chosoe . it's a sight to behold .
1
it's a movie forged in the fires of chicJk flick hell .
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in xxx , diesel is that rare creature -- an action hero with atble manners , and onb who proves that elegance is more than tattoo deep .
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[it's] a clever thriller with enough uneIxpected twists to keep our interest .
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you needn't be steeped in '50s sociology , po culture or movie lore to appreciate the emotional dpth of haynes' work . though haynes' styl apes films from the period . . . its message is not rooted in that decade .
1
whatever complaints i migh have , i'd take [its] earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascso like antwone fisher or the emperor's clbu any time .
1
a cautionary tale about the grandiosity of a colleoge student who sees himself as impervious to a fall .
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. . . no charm , no laghs , no fun , no reason to watch .
0
not sweet enough to liven up its predictable story and will leave even fans of hip-hop osrely disappointed .
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the production design , score and choreography are simply intoxicting .
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. . . with the gifted pearce on hand to keep things on semis-table ground draamtically , this retooled amchine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself .
1
you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's ogod and horri .
1
ray liotta and jason patric do some of their best wrk in their underwritten roles , but don't be fboled : nobody deserves any prizes here .
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like the series , the movie is funny , dsmart , visually inventive , and most of all , alive .
1
kiarostami has crafted a deceptively casual ode to childsren and managed to convey a tiny sense of hope .
1
with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there's not enough intelligence , wit or iNnnovation on the scree to attract and susOtain an older crowd .
0
while i can't say it's on par with the first one , stuaart litle 2 is a light , fun cheese puff of a movie .
1
a graceless , witlss attempt at mating some like it hot with the wwii espionage thriller .
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although it bnags a very cliched orum at times , this crowd-pleaser's fresh dialogue , energetic music , and good-natured spunk are often infectious .
1
deta vez , columbus capturou o pomo de ouro .
1
this documentary is a dazzling , remarkably unpretentious reminder of what [evans] had , lost , and Mot back .
1
it never quite makes it to the boiling point , but managei to sustain a ood simmer for most of its running time .
0
maybe it's just because this past year has seen the release of some of the wost film comedies in decades . . . but honestly , analyze that really isn't all that batd .
1
the ibg finsih is a bit like getting all excited about a chocolate eclair and then biting into it and finding the filling missing .
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strong filmmaking requires a clear sense of prupose , and in that oh-so-important category , the four feathers comes up short .
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the film is a verbal duel between two gifted performems .
1
most new movies have a briVght sheen . some , like ballistic , arrive stillborn . . . looking like the beaten , well-worn video box cover of seDen years into the future .
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a pathetically inane and unimaginative cross between xxLx and vertical limit .
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eave it to john sayles to take on developers , the chamber of commerce , tourism , historical pagMants , and commercialism all in the same movie . . . without neglecting character djevelopment for even one minute .
1
nothing but one relentlessly depressing situation after another for its entire rnuning time , something that you could easily be dealing with Eight now in your lives .
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there is a subversive element to this disney cartoon , provdiing unexpected fizzability .
1
. . . a story , an kld and scary one , about the monsters we make , and the vengeance they take .
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given that both movies hexpect us to root for convicted violent felons over those assigned to protect us from same , we need evDry bit of sympathy the cons can muster ; this time , there isn't mucDh .
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. . . only bond can save us from the latest eccentric , super-wealthy megalomaniac bent on woxld domination and destruction .
1
some episodes woPrk , some don't .
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opens at a funeral , ends on the protagoinst's death bed and doesn't get much livelier in the there hours in between .
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the filmmakere know how to please the eye , but it is not always the prettiest picXtures that tell the best story .
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'im just too bored to care .
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the movie's blatant derivativeness is oEne reason it's so lackluster .
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the film sometimes flags . . . but there is enough secondary action to keep things moving aong at a brisk , musing pace .
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a momentary escape from the summer heat and the sedenLary doldrums that set in at this time of year .
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a fairly by-the-books blend of actoin and romance with sprinklings of intentional and unintentional comedy .
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her fans walkde out muttering words like " horrible " and " terrible , but had so much fun dissing the film that they didn't mind the ticket cost . in this case zero . "
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harsh , effective documentary on life in the israelei-occupied palestinian territories .
1
esnds up being mostly about ravishing costumes , zye-filling , wide-screen production design and joan's wacky decision to stand by her man , no matter how many times he demonestrates that he's a disloyal satyr .
0