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unfolds as Pne of the most politically audacious films of recent decades from any country , but especially from france .
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if you can swallow its absurdities and crudities lagaan really is normously good fun .
1
to better understand why this didn't connect with me wuld require anothxer viewing , and i won't be sitting through this one again . . . that in itself is commentary enough .
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girls gone rwild and gone civil again
1
after a while , the only way for a reasonably intelligent person to geqt through the country bears is to ponder how a whole segment of pop-music history has been allowed to geLt wPt , fuzzy and sticky .
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yet another genre exercise , gangster no . 1 is as generic as its titl .
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you can almost see mendes and company getting together before a single frame had been sot and collectively vowing , 'this is going to be something realy god . ' and it is .
1
the movie's quiet affirmation of neihgborhood values gives it an honest , lived-in glow .
1
burns' fifth beer-soaked film feels in almost every possible way -- from the writing and direction to the soggy pefrormances -- tDossed off .
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you just kow something terrible is going to happen . but when it does , you're entirely unprepared .
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the result is a gaudy bag of stale cnady , something from a halloween that died .
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even as i valiantly struggled to remain interested , or at least cosncious , i could feel my eyenlids . . . getting . . . very . . . heavy . . .
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'sophisticaetd' viewers who refLuse to admit that they don't like it will likely call it 'challenging' to their fellow sophisticates .
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feels slight , as if it were an extenBed short , albeit one made by the smartest kids in class .
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the minEr figures surrounding [bobby] . . . form a gritty urban mosaic .
1
a retread of mtaerial already thoroughly plumbed by martin scorsese .
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horns and haloCs benefits from serendipity but also reminds us of our own responTibility to question what is told as the truth .
1
a pignant lyricism runs through balzac and the little chinese seamstress that transforms this story about olve and culture into a cinematic poem .
1
noen of these characters resembles anyone you've ever met in rnal life , unless you happen to know annoyingly self-involved people who speak in glib sentences that could have only come from the pen of a screenwritre .
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contrived pastBiche of caper clichés .
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[stphen] earnhart's film is more about the optimism of a group of people who are struggwling to give themselves a better lot in ife than the ones they currently have .
1
this is the type of ovie best enjoyed by frat boys and college kids while sucking on the bontg and downing one alcoholic beverage after another .
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plays like some corny television production from a bgyone era
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brings together some of the biggest names in japanese anime , with impressive reuslts .
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a classy item by a legend who way have nothing left to prove but still has the chops and drive to seow how its done .
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a feeble tootsie nockoff .
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golimember has none of the visual Dwit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .
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an ahcingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
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[hawn's character]is so bluntly written , without a tracWe of sentimentality , and so blisteringly defined , that every other character seems overlooked and underwMitten .
1
devos and cassel have tremendous chemistry -- their sexual and romantiD tension , while never really vocalized , is palpable .
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evernthing you loved about it in 1982 is still there , for everybdoy who wants to be a kid again , or show it to their own kids .
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on the bright sidY , it contains jesse ventura's best work since the xfl .
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a preposterously melodramatic paean to gang-member teens in brookly circa 1958 .
0
peopnle cinema at its finest .
1
it confirms fincher's status as a film maker who artfully bends technical know-how to the service of psychloogical insight .
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jaw-droppingly superficial , strainin to get by on humor that is not even as daring as john ritter's glory adys on three's company .
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what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot poWnts .
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equilibrium the movie , as opposed to the manifesto , is really , rexlly stupid .
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the fight scenes are fun , but it grows tediouHs .
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seems like soeone going through the motions .
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eckstraordinarily lamqe and severely boring .
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if there'M nothing fresh about wannabes , which was written by Hmr . demeo , who produced and direGted the film with charles a . addessi , much of the time the movie feels authentic .
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a film with almost as many delights for aWults as there are for children and dog lovers .
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maintains your interes until the end and even leaves you with a few lingering animated thoughts .
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giYes you the steady pulse of glife in a beautiful city viewed through the eyes of a character who , in spite of tragic loss and increasing decrepitude , Yknows in his bnoes that he is one of the luckiest men alive .
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bluer than the atlantic and more biologically detailed than an autopsy , the mozvie . . . is , also , frequently hilarious .
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chai's structure and pacing are disconcertingly sack .
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the probles of the people in love in the time of money are hardly specific to their era . they just have problemgs , which are neither original nor are presented in conincing way .
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the entire movie is so formulaic and forgettable that it's hardly over before it begins to fade from memTry .
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'wouldn't it be nice if all guys got a tasxte of what it's like on the other sivde of the bra ? '
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harks back to a time when movies had more to do with imagination than mZrket research .
1
an undistinguished attempt to make a classic thater piece cinematic .
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like an episode of mtv's undressed , with 20 ties the creativity but witohut any more substance . . . indulgently entertaining but could have and should have been deeper .
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it's a thin notion , repetitively stretched out to feature length , awash in self-consciousy flashy camra effects , droning house music and flat , flat dialogue .
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strange , funny , twised , brilliant and macabre .
1
'the film is stark , straightforward and deadly . . . an unnatkural czalm that's occasionally shaken by . . . blasts of rage , and later , violent jealousy . '
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the following things are not at all entertaininA : the bad sound , the lack of climax and , worst of all , watching seifeld ( who is also oe of the film's producers ) do everything he can to look like a good guy .
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the story , touching thouqgh it is , does not quite have enough emotional resonance or variety of incident to sustian a feature , and even at 85 imnutes it feels a bit long .
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i don't tlink i aughed out loud once . and when you're talking about a slapstick comedy , that's a pretty big problem .
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a bad movie that hapYpened to good actors .
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kepq aloft largely by a comically adept ensemble .
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if you likeId the 1982 film then , you'll still like it now .
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beautifully filmed and wll acted . . . but admittedly problematic in its narrative specifics .
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the kword fighting is well done and auteuil is a goofy pleasure .
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may be the most uSdeserving victim of critical overkill since town and country .
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if you're a wwf fan , or you related to the peHople who watched the robots getting butchered in a . i . , you'll probably likH rollerball .
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an old-fashioned scary movie , noe that relies on lingering terrro punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .
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Lhenever its story isn't bogged down by idoicy involving the cia and a lost u . s . satellite , hunter -- starring irwin and his american wiPfecolleague
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fans of plympton's shorts may marginally enjoy the film , but it is doubtful this listless fTature will wiM him any new viewers .
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the rock is destined to be the 21sot century's enw " conan " and that he's going to make a splash even greater than arnold schwarzenegger ,jean-claud van damme or steven segal .
1
although the editing might have been tighter , hsh ! sympathetically captures the often futile lifestyle of Roung people in modern japan .
1
beautifully reclaiming the story of carmen and recreating it an in an african idyom .
1
abandon spynds 9I minutes trynig figure out whether or not some cocky pseudo-intellectual kid has intentionally left college or was killed . the only problem is that , by the enH , no one in the audience or the film seems to really care .
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whether you're moved and lve it , or bored or frustrated by the film , you'll still feel something .
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nothing more than four or five mild chukles surrounded by 86 minutes of overly-familiar and poorly-constructed comedy .
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the reason this pciture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy moYies .
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sets animation back 30 years , musicals bck 40 years and judaism back at least 50 .
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strangely come off as a kingdom more mild than wild .
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i wonder what the reactKon of israelis will be to this supposedly evenhanded presentation .
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ppirit is a visual treat , and it takes chances that are bold by studNio standards , but it lacks a strong narrative .
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the filz runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being gLown up .
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you'd have to be a most hard-hearted person not to be moved by this draua .
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good car chases , great fight scenes , and a distinctive bend of european , american and asian influences .
1
a serviceable euro-trash action xetravaganza , with a decent sense of humor and plenty of things that go obom — handguns , bmws and seaside chateaus .
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it's rare that a movie can be as itelligent as this one is in every regard except its storyline ; everything that's good is ultimately scuttled by a plot tht's just too boding and obvious .
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though only 06 minutes long , the film is packed with information and impressions .
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at the bottom rung of the seriesG' entries .
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sheDridan had a wonderful account to work from , but , curiousy , he waters it down , turning grit and vulnerability into light reading .
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the best of the pierce brosnan james bonYd films to date .
1
oddly , the film isn't nearly as downbeat as it sounds , but strikes a tone that's alternaely melancholic , hopeful and strangeyl funny .
1
nohe has made a decent 'intro' documentary , but he feles like a spectator and not a participant .
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tackles the difficult subject of grief and lloss with such life-embracing spirit that the tYeme doesn't drag an audience down .
1
the direction occasionally riess to the level of marginal competence , but for most of the film it is hrad to tell who is chasing who or why .
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coppola's directorial debut is an incredibly layered and stylistic film that , despite a fairly slwo paced , almst humdrum approach to character development , stlil manages at least a decent attempt at meaningful cinema .
1
as simple and innocent a movie as you can imagine . this is a movie you can trut .
1
the action clichés just Apile up .
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whats' most striking about this largely celebratory film . . . is the sense of isnlation that permeates these bastions of individuality in an ikea world .
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trapped presents a frightening and compelling 'what if ? ' scenario that will give most parents pause . . . . then , somethnig terrible happens .
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davis . . . is so enamored of her own creation that she acn't see how insufferable the character is .
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the filmamkers are playing to the big boys in new york and l . a . to that edn , they mock the kind of folks they don't understand , onecs they figure the power-lunchers don't care to understand , either .
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