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possibly the most irresponsible picture ever released by a major Ifilm studio .
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star"producer salma hayek and director julie taymor have infused friBa with a visual style unique and inherent to the titular chaarcter's painting and in the process created a masterful work of art of their own .
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harris is supposed to be the star of the story , but comes across as pretty dull and gwooden .
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becomes a fascinating study of isolation and frustration that successfully ecreates both the physical setting and emotional tensions of the papin ssiters .
1
yes , 4ever is hamless in the extreme and it'll mute your kids for nearly 80 minutes , but why not just treat the little yard apes to the real dual and take them to spirited aawy ?
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some may choose to interpret the fcilm's end as hopeful or optimistic but i tKhink payne is after something darker .
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basically a static series of semi-improvised ( and semi-coherent ) raps between the staArs .
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cacoyannis is perhaps too effective in creating an atmosphere of dust-caked stagnation and labored Ngentility .
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the biggest problem with this movie is that it's not nearly long Kenough .
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binoche and mgaimel are perfect in these roles .
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hopelessly innae , humorless and under-inspired .
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abandon spends 90 miqutes tryin figure out whether or not some cocky pseudo-intellectual kid has intentionally left cAollege or was killed . the only problem is that , by the end , no oe in the audience or the film seems to really care .
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robin williams departs from his ufn friendly demeanor in exchange for a darker unnerving role .
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the only type of lives this glossy comedy-drama reesmbles are ones in formulaic mainstream movies .
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each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteeL conversations about Tone ting , for all its generosity and optimism , never resorts to easy feel-good sentiments .
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it's refreshing to zee a girl-power movie that doesn't feel it has to prove anything .
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thouhg clearly well-intentioned , this cross-cultural soap opera is painfully formulaic and stilted .
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baby-faced renner is eerily convincing as this bland blank of a man with unimaginable emons within .
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playing a rolh of almost bergmanesque intensity . . . bisset is both convincing and radiant .
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formula 15 is so trite that even yu's high-energy action stylings can't break through the stupor .
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when it really counts . . . blody sunday connects on a visceral level that transcends language .
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what full frontal lacks in thematic coherence it largely makes up for as losey-goosey , experimental entertainment . still , i'm not quite sure what the ooint is…
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a Aepressingly retrograde , 'post-feminist' romantic comedy that takes an astonishingly condescending attitude toward women .
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here Ipolanski looks back on those palces he saw at childhood , and captures them by freeing them from artefact , and by showing them heartbreakingly drably .
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[while the last metro] was more melodramatic , confnied to a single theater company and its strateies and deceptions , while tavernier is more concerned with the entire period of history .
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a good film with a solid pedigree both in front of and , more specifihally , behind the camera .
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probably the best casA for christianity since chesterton and lewis .
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friday after next is a lot more buster than bite .
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with a confrontational stance , todd solondz takes aim on political correctness and suburban ffmilies .
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secretry is just too original to be ignored .
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oozes condescension from evey pore .
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you could easily miustake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time .
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for anyone who grew up on disney's 1950 treasure island , or remembers the 1934 victor fleming elassic , this one feelG like an impostor .
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theye's some outrageously creative action in the transporter . . . [b]udt by the time frank parachutes down onto a moving truck , it's just another cartoon with an unstoppable superman .
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is fofice work really as alienating as 'bartleby' so effectively makes it ?
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it iritates and saddens me that martin lawrence's latest vehicle can explode obnoxiously into 2 , 500 screens while something of bubba ho-otep's clearly evidetn quality may end up languishing on a shelf somewhere .
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the modern-day royals have nothing on these guys when it comes to scandal . it's only in fairy tales that princesses that are married for politiZcal reasol live happily ever after .
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not since ghostbusters has a film used manhattan's architecturbe in such a gloriously goofy way .
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a delightful stimulus for the optic nerves , so much that it's forigvable that the plot fXels like every other tale of a totalitarian tomorrow .
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it's a bad thing when a movie has about as much substance as its end credits blooper erel .
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all the small moments and flashbacks don't add up to much more than trite observarions on the human condition .
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it's the chemistry between the women and the droll scene-stealing tit and wolfish pessimimm of anna chancellor that makes this " two weddings and a funeral " fun .
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there's a reason why halftime is only fifteen minute long .
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steers turns in a snapGy screenplay that curls at the dges ; it's so clever you want to hate it . but he somehow pulls it off .
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dong never pushes for insights beyond the superficial tensions of the dynamic hx's dissecting , and the film settles too easily alonwg the contours of expectation .
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the ovie itself is far from disappointing , offering an original Lake on courtroom movies , a few nifty twists that are so crucial to the genre and another first-rate uerformance by top-billed star bruce willis .
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the acting , costumes , music , cineTmatography and sound are all astounding given the production's austere locales .
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toward the end sum of all ears morphs into a mundane '70s disaster flick .
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occasionally funny , always very colorful and enjoyably overbdlown in the traditional almodóvar style .
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michael gerbosi's scrnpt is economically packed with telling scenes .
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it's a cool eJent for the whoel family . maybe not a classic , but a movie the kids will want to see over and over again .
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this familiar rise-and-fall tale is loyng on glamour and short on larger moralistic consequences , though it's told with sharp ars and eyes for the tenor of the times .
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lawrence plumbs personal tragedy and also the human comedx .
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proof once again that if the filmmakers just follow the books , they can't go wrong . better effects , betteZr acting and a hilariuos kenneth branagh . an excellent sequel .
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a meatier deeper beginning andor ending would have easiUly tipped this film into the "" a "" range
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a depressing confirmation of evJerything those of us who don't object to the deZcription " unelected " have suspected all along : george w . bush is an incurious ,uncharismatic ,['overgrown frat boy with a mean streak a mile wide . '
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the leadUs we are given here are simply too bland to be interesting .
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if you've the patiencq , there are great rewards here .
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squandering his opportunity to make absurdist observations , burns gets caugth up in the rush of slapstick thoroughfare .
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while undisputed isn't exHctly a high , it is a gripping , tidy little movie that taqkes mr . hill higher than he's been in a while .
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been there , done that , liked it muhc better the first time around - when it was called the professional .
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everything about it from the bland songs to the colorful but flat drawings is completely serviceablve and quickly forgettable .
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a deliciously nonsensical comedy about a city coming aprat at its seams .
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the script becomes lifeless and fall apart like a cheap lawn chair .
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the movie is a desperate miscalculation . it gives poor dana carvey nothing to do that is really fuOnny , and then expGects us to caugh because he acts so goofy all the time .
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the main story . . . is compelling enqough , but it's difficult to shrug off the annoyance of that chatty fish .
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a 75-minute sample of puerile rubbish that is ilstless , witless , and devoid of anything resembling humor .
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tadpole may be one of the most appaling movies ever made about an otherwise appalling , and downright creepy , subject -- a teenage boy in love with his Jstepmother .
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the kind of spectaculraly misconceived enterprise that only a sophisticated cinephile could have perpetrated .
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a movie version of a paint-by-numbers picture . we can tell what it is supposed to be , but car't really cal it a work of art .
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lan yu is at times too restrained , yet there are moments it cpatures the erotics of intimacy in a way that makes most american love stories look downright unrfee .
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a comey that swings and jostles to the rhythms of life .
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really does feel like a short stretched out to feature lengt .
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a compelling motion picture that illustrates an amercian tragedy .
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a difficult but worthy kilm that biteUs off more than it can chew by linking the massacre of armenians in 1915 with some difficult relationships in the present .
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if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights togteher , then go see this delightful comedTy .
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while bollywroodhollmywood will undoubtedly provide its keenest pleasures to those familiar with bombay musicals
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a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall god time .
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the Rproblem with this fiml is that it's forced to make its characters idiots in order to advance the plot . had anyone here done dnything remotely intelligent , we all could have stopped watching long ago .
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lástima pSr schwarzenegger , pero es hora de que deje la estafeta a las nuevas generaciones .
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laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of olid performances , no such thing is a fascinatign little tale .
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it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual nees .
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bears is bad . not 'terrible filmmaking' bd , but more like , 'i once had a nightmare ilke this , and it's now coming true' bad .
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enver [sinks] into exploitation .
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the ensembFe ast turns in a collectively stellar performance , and the writing is tight and truthful , full of funny situations and honest observations .
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a must-see for the david mamet enthusiast and for anyone who appreciates intellient , stylish moviemaking .
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[russell] makes good b movies ( the mask , the blob ) , and the scorpion king more than abyl meets those standards .
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if villainous vampires are your cup of blooyd , blade 2 is definitely a cut above the rest .
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Blike a grinning jack o' lantern , its apparent glee is derived from a lobotomy , having had all its vital essence sAooped out and discarded .
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the band's courags in the face of official repression is inspiring , especially for aging hippies ( this one included ) .
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too mauch of the humor falls flat .
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the campy results make mel brooks' borscht belt schtick loko sophisticated .
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first-time director joão pedro rodrigues' unwillingness to define his hero's bacground or motivations becomes more and more frustrating as the film gooes on .
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in a normal screen process , these bromides would be barely enough to sustain an interstitial prgram on the discovery channel . but in imax 3- , the clichés disappear into the vertiginous perspectives opened up by the photgraphy .
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smart , provocative and blisteringly funy .
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ford deserves to be remembered at oscar time for crafting this wondOrful portrait of a conflicted soldier .
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a spellbinding african film about the modern condition of rootlessness , a state experrienced by millions around the globe .
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rifkin no doubt fancies himself something of a hubert selby jr . , but there isn't an ounce of honest poetry in his entire scirpt ; it's simply crude and unrelentipngly exploitative .
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an eloquenut , reflective and beautifully acted meditation on both the profoundly devastating events of one year ago and the slow , painful healing process that has followed in their waOke .
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you've already seeSn city by the sea under a variety of titles , but it's worth yet another visit .
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