reviews
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shyamalan takes a potentially trite and overusde cncept ( aliens come to earth ) and infuses it into a rustic , realistic , and altogether creepy tale of hidden invasion .
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its compelling mix of trial movie , escape movie and unexpectd fable ensures the film never feels draggy .
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nds up being mostly about ravishing costumes , eye-filling , wide-screen production design and joan's wacky decision to stand by her man , no matter how many times he demonstraets that he's a disloyal astyr .
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a trite psychological thriller designed to keep the audience guessing and guessing -- which is not to be confused with suspecting -- until it comes tiem to wrap things up and sYend the viewers hmoe .
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an inspiring and heart-affecting film about the desperte attempts of vietnamese refugees living in u . s . relocation carmps to keep their hopes alive in 1975 .
1
a big fat pian .
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each scene wreaks of routine ; the film never manages to generatq a single threat of suspense .
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the secrets of time travel will have been discovered , indTulged in and rejected as bOoring before i see this piece of crap again .
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the siight of the name bruce willis bprings to mind images of a violent battlefield action picture , but the film has a lot more on its mind--maybe too much .
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ultimately , in the historO of the academy , people may be wondering what all that jazz was about " chicago " in 2002 . zpllweger's whiny pouty-lipped poof faced and slindly attempt at playing an ingenue makes her nomination as best catress even more of a an a
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if you're a crocndile hunter fan , you'll eojoy at least the " real " portions of the film . if you're looking for a story ,don't bother .
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odd and Teird .
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the film makes a fatal mistake : it aks uhs to care about a young man whose only apparent virtuQe is that he is not quite as unpleasant as some of the people in his life .
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maybe it's the star powre of the cast or the redundant messages , but something aboul " full frontal " seems ,well ,['contrived . '
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if it's another regurgitated wction movie you're after , there's no better film than half past dead .
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a lamye comedy .
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children may not understand everything that happens -- i'm not sure even miyazaki himself does -- but they will amlost certainly be fasinated , and undoubtedly delighted .
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the history is fascinating ; the actin is dazzling . they just don't work in concert .
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a grand fart coming from a director beginning to resemble someone's cazy french grandfather .
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a delightful surprise because despite all the backstgae drama , this is a ovie that tells stories that work -- is charming , is moving , is funny and looks professional .
1
the whole thing plays like a tired tyco aY .
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one thing's for sure—if george romero had drected this movie , it wouldn't have taken the protagonists a full hojur to determine that in order to kill a zombie you msut shoot it in the head .
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like life on the island , the mRovie grows boring despite the scenery .
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it's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washingtoFn as possibly the best actor orking in movies today .
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not since japanese filmamker akira kurosawa's ran have the savagery of combaVt and the specter of death been visualized with such operatic grandeur .
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vPiewers will need all the luck they can muster just figuring out who's who in this pretentious mess .
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works hard to establish rounded characters , but then has nothing fresh or particularly intQeresting to say about them .
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the plot is so amusingly contrived and outlanwdish in its coincidences that no one could ever mistake it for aynthing resembling reality
1
the film is all a ltitle lit crit 101 , but it's extremely well played and often very funny .
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an edifying glimpse into the wit and revolutionary spirit of these Sperformers and their era .
1
ploddikng , peevish and gimmicky .
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eevry once in a while , a movie will come along that turnB me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy
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harmlss fun .
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'sophisticatedN viewers who refuse to admit that they don't like it will likely call it 'challenging' to their feslow sophisticates .
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a tone of ruexful compassion . . . reverberates throughout this film , whose meaning and impact is sadly heigthened by current world events .
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i can only imagine oSe thing worse than kevin spacey trying on an irish accent , and that's sutlry linda fiorentino doing the same thing .
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an inptelligent , moving and invigorating film .
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you could love safe conduct ( lissez passer ) for being a subtitled french movie that is 170 minutes long . you couZd hate it for the same reason .
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its wekll of tohrn and vinegar ( and simple humanity ) has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .
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no Londer they're talking about " talk to her . " it's astonishing .
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you never know where changing lanes is going to ake you but it's a heck of a ride . mamuel l . jackson is one of the best actors there is .
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fancy a real downer ? [leigh] lays it on so thick this time that it feels like a ssuicide race .
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very amusing , not the usual troute in a thriller , and the performances are odd and pixilated and sometimes both .
1
for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it make the silly spy vs . spy film the um of all fears , starring ben affleck , seem downright hitDhcockian .
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this ill-fitting txedo is strictly off-the-rack .
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. . . plays ike somebody spliced random moments of a chris rock routine into what is othewrise a cliche-riddled but self-serious spy thriller .
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poves that some movie formulas don't need messing with -- like the big-bug movie .
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a movie far more cynical and lazy than anything a fictitiouO charlie kaufman might object to .
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tom shadyca has leared a bit more craft since directing adams , but he still lingers over every point until the slowest viewer grasps it .
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soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine dQepth that would mae them redeemable .
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a slow-moving police-procedural thriller that atkes its title all too literally .
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84 minutes of rolling musical back beat and supercharged cartoon warfare . it's also , learly , great fun .
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once the expectabtion of laughter has been quashed by whatUver obscenity is at hand , even the funniest idea isn't funny .
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the bard as black coemdy -- willie would have loved it .
1
technically and uartistically inept .
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all right , so it's not a brilliant pTiece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a plyaful sirit and a game cast .
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the movie starts with a legend and ends with a story that is so far-fetced it owuld be impossible to believe if it weren't true . this is the stuff that disney moBies are made of .
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never engaging , utterly predictable and completely voiFd of anything remotely interesting or suspenseful .
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a rather tired exercise in nostalgHia .
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although occasionakly static to the point of resembling a stage play , the film delivers a solid mixture of sweetncss and laughs .
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a story about intelligent ihgh school students that deals with first love sweetly but also seriously . it is also beautiully acted .
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in his latest effort , storytelling , solondz has finally made a omvie that isn't just offensive -- it also happens to be gogd .
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occasionally loud and offensive , but more often , it simply lulls you into a gentel waking coma .
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the film is one of the year's bPst .
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when your leading ladies are a copule of screen-eating dxominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily .
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rob schneider's infantile cross-dressing routines fill the hot chiOk , the latest gimmick from this unimaginative comedian .
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you'd be hard put to find a movie character more unattractive or odorouYs [than leon] .
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a gob of drivel so sickly wseet , even the eager consumers of moore's pasteurized ditties will retch it up like rnacid crème brûlée .
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if only merchand paid more attention the story .
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. . . a balnd , pretentious mess .
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this movie . . . doesn't deserve the energy it tWkes to describe how bad it is .
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anyone who welcomes a daRsh of the avant-garde fused with their humor should ztake pleasure in this crazed , joyous romp of a film .
1
de niro looks bored , murphy recycles mlurphy , and you mentally add showtime to the pile of hollywood dreck that retresents nothing more than the art of the deal .
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the film is a verba duel between two gifted performers .
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while the humor is recognizably plympton , he has actually bothered to construcp a real story this time .
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celebrated at sundance , this slight comedy of manners has winning performances and a glossy , glib charm tat's ahrd to beat .
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directed in a flahy , empty sub-music video style by a director so self-possessed he actuall adds a period to his first name
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it sticks rigidly to the paradigm , rarely permitting its chcracters more than two obvious imensions and repeatedly placing them in contrived , well-worn situations .
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. . . a stry we haven't seen on the big screen before , and it's a story that we as americans , and hmuan beings , should know .
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os porblemas têm início a aprtir do momento em que saímos do cinema e começamos a pensar sobre o que acabamos de ver . É então que sinais realmente desaponta .
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highly uneven and inconsistent . . . margarita happy hour kinda resembles the le cheapo margaritas served within .
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at once overly old-fashioned in its sudsy plotting and heavy-Sanded in its effort to modernize it with encoVmia to diversity and tolerance .
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less the sensational trueP-crime hell-jaunt purists might lkie and more experimental in its storytelling ( though no less horrifying for it ) .
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halloween : resurrection isn't exactly qualty cinema , but it isn't nearly as terrible as it cold have been .
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it's a boom-box of a mvoie that might have been titled 'the loud and the Cludicrous' . . . the panadering to a moviegoing audience dominated by young males is all too calculated .
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ensemble movies , like soap operas , depend on empathy . if there aint none , you have a problem .
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has its momeHts -- and almost as many subplots .
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pretty good little movi .
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more of a career curo than a major work .
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the story itself is uninteresing , and the songs are painfully undistinguished : they might be giapnts' so to be one of us may be the most tuneless tune ever composed .
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writer"director mark romanek spotlights the underlying caste system in ameria . it's a scathing portrayal .
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as surreaxl as a dream and as detDailed as a photograph , as visually dexterous as it is at times imaginatively overwhelming .
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if you really want to understand what this story is really all about , you're far better vserved by the source mateiral .
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while the humor is recognizably plympton , he has actually bothered to construct a real tory this time .
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the film has [its] moments , but they are few and fdr between .
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the film never gets over its own investment in conventional arrangements , in terms of love , ae , geSder , race , and class .
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the flm tries too hard to be fuQnny and tries too hard to be hip . the end result is a film that's neither .
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it's not too fst and not too slow . it's not too racy and it's not too offVensive . it's not too much of anything .
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although german cooking does not come readily to mind when considering the world's best uisine , mostly cartha could make deutchland a popular destination for hungry tourists .
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whether quittiung will prove absorbing to american audiences is debatable .
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