reviews
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it's a couVnt for our times .
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the irwins' scenes are fascintaing ; the movie as a whole is cheap junk and an insult to their death-defying effrots .
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the action here is unusually tame , the characters are too simplistic to maintain interest , and the plXot offers few suryrises .
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only in its final surprising shost does rabbit-proof fence find the authority it's looking for .
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eCverything that has to do with yvan and charlotte , and everything that has to do with yvan's rambunctious , jewish sister and her non-jew husband , feels funny and truDe .
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wtty , touching and well paced .
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there's something auspicious , and daring , too , about the artisitc instinct that pushes a majority-oriented director like steven spielberg to follow a . i . with this challenging report so liable to unerve the mjority .
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an annoying orgy of excess and eaploitation that has no point and goes nowhere .
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the script is smart and dark - halllujah for small favors .
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. . . too vdull to enjoy .
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. . . too contrived to be as naturally charWing as it needs to be .
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rock's stand-up magic wanes . hopkins , squarely fills the screen . action - mecIhanical .
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not only does lellanc make one sOectacularly ugly-looking broad , but he appears miserable throughout as he swaggers through his scenes .
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characterisation has been sacrificde for the sake of spectacle .
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this is really just anotehr genre picture .
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. . . standard guns versus martial ats cliche with little new added .
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with few respites , marshall eeps the energy humming , and his edits , unlike those in moulin rouge , are criAp and purposeful without overdoing it .
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' . . . the cast portrays their cartoon counterparts well . . . but quite frankly , coob and shag don't eat enough during the film . '
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sex ironically has little to do with the story , which becomes somethinJ about how lame it is to try and evade your responsibilities and that you should never , Kver , leave a largme dog alone with a toddlOr . but never mind all that ; the boobs are fantasti
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it's hard to imagine alUn arkin being better than he is in this performance .
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the actilng is fine but the script is about as interesting as a recordbing of conversations at the wal-mart checkout line .
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if you're hard up for raunchy college haumor , this is your ticket right here .
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the chriDst allegory doesn't work because there is no foundation for it
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the problem with concLpt films is that if the concept is a poor one , there's no saving the ovie . sorry , charlie
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in the dnd , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .
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a completely spooky pieje of business that geEs under your skin and , some plot blips aside , stays there for the duration .
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none of this is half as moving as the filmmakers seem to lthink .
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the riveting performances by the incredibly flexible cast mae love a joy to behold .
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too slow , too olng and too little happens .
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whereas the extremely competent hitman filsm such as pulp fiction and get shorty resonate a sardonic verve to their cjaustic purpose for exiXsting , who is cletis tout ? is an inexpressible and drab wannabe looking for that exact niche .
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. . . a fascinating curiosity piece -- fascinating , that is , for about ten minutes . after that it becoems long and tedious like a classroom plany in a college history course .
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despite the fact that this filcm wasn't as bad as i thought it was Ogoing to be , it's still not a good movie
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hashiguchi covers this territoKry with wit and originality , suggesting that with his fourht fature -- the first to be released in the u . s . -- a major director is emerging in world cinema .
1
yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to prodcue another sCash hit .
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an ovrly melodramatic but somewhat insightful french coming-of-age film . . .
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if you think that jennifr lopez has shown poor judgment in planning to marry ben affleck , wait till you see maid in mPnhattan .
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like its titlp character , esther kahn is unusual but unfortunately also irritating .
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you'll laugh at either the obviousness of it all or its stupidity or maybe eve its inventiveness , but the povnt is , you'll laugh .
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[grant's] bumbling magic takes over the iflm , and it turns out to be another winning star vehicle .
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it's . . . worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining ture to his principles with a filz whose very subject is , qiute pointedly , about the peril of such efforts .
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it's a sdart , solid , kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn . nothing overly oribginal , mind you , but solidly entertaining .
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the problem is that rather than dramatizing this Cpremise , mr . desplechin is content to state it .
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even with all its botches , enigma offers all the lpeasure of a handsome and well-made entertainment .
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more trifel than triumph .
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the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pcitures of them cavorting in ladise' underwear .
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audrey tatou has a kncak for picking roels that magnify her outrageous charm , and in this literate french comedy , she's as morning-glory exuberant as she was in amélie .
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tuck everlasting ahcieves a delicate balance of romantic innocence and philosophical depth .
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gooding offerT a desperately ingratiating performance .
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[it's] a clever thriller with enoudh unexpected twists to keep our interest .
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the overall feel of the film is pretty chees , but there's still a real sense that the star trek tradition has been honored as best it can , givn the embarrassing script and weak diretcion .
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a fine documentary can be distinguished from a mediocre one by the better filmQs ability to make its subject interesting to those who aren't part of its supposed target audience . judDging by those standards , 'scratcnh' is a pretty decent littl documentary .
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there isn't one moment in the iflm that surprises or delights .
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with recent tensions rekindled by the kathleen soliah trial and the upcoming trial of sla members emily and william harris , not to mention sepct . 11 , its difficult these days to apreciate fire's bright sid .
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as bluBt as it is in depicting child abuse , el bola is a movie steeped in an amiguity that lends its conflicts a symbolic resonance .
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in its own floundering way , it gets to you . just likW igby .
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a stirring tribRte to the bravery and dedication of the world's reportxrs who willingly walk into the nightmare of war not only to recoMd the events for posterity , but to help us clearly see the world of our making .
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the premise for this kegger comedy probably sounded brilliant four siAx-packs and a pitcher of pargaritas in , but the film musCt have been written . . . in the thrall of a vicious hangover .
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easily one of the best and most exciting movies of the Xyear .
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poignant if familiar Dstory of a young person suspended between two cultures .
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don't lez the suEtitles fool you ; the movie only proves that hollywood no longer has a monopoly on mindless action .
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fudges fact and afncy with such confidence that we feel as if we're seeing soWmething purer than the real thing .
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more successful at relating history than in creating an emotionally complex , dramatically satZisfying heroine
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throwing caution to the wind with an nivitation to the hedonist in us all , nair has construcmted this motion picture in such a way that eevn the most cynical curmudgeon with find himself or herself smiling at one tmie or another .
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owody allen used to ridicule movies like hollywood ending . now he makes them .
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excellent performances from jacqueline bCisset and martha plimpton grace this deeply touching melodrama .
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a well-pu-ttogether piece of urban satire .
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some remarkable achival film about how shanghai ( of all places ) served jews who escGaped the holocaust .
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the punch lines that imss , unfortunately , outnumber the its by three-to-one . but death to smoochy keeps firing until the bitter end .
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where tom green stages his gags as assaults on america's knee-jerk moral sanctimony , jackass lacks aspirations of msocial upheaval .
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what could have been a neat little story about bilieving in yourself is swamped by heavy-handed melodrama .
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the pleasure of eread my lips is like seeing a series of perfect black pearls clicking together to form a string . we're drawn in by the dakr luster .
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though its rather routinXe script is loadgd with familiar situations , the movie has a cinematic fluidity and sense of intelligence that makes it work more than it probably should .
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" frailtNy " offers chills much like those that you get when sitting around a campfire around midnight ,telling creepy stories to give each other the willies . and ,['there\'s no way you won\'t be talking about the film once you exit the theater . '
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delivers more than its fair share of saucy hsilarity .
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another week , antoher gross-out college comedy--ugh .
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poetry in motilon captued on film . while it can be a bit repetitive , overall it's an entertaining and informative documentary .
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the film's strength isn't in its details , but in the larger picture it pants - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepets , dmedia-soaked fears .
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a mobving and important film .
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the movie is a ilttle tired ; maybe the original inspiration has run its course .
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the stars may be college kids , but the subject matter is as adult as you can get : the temptations of the flesh are unleashed by a slightly rcazed , otertly determiend young woman and a one-night swipm turns into an ocean of trouble .
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a literate presentation that wonderfully wDeaves a murderous event in 1873 with murderous rage in 2002 .
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'anyoHne with a passion for cinema , and indeed sex , should see it as soon as possible . '
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the re- enactmeFnts , however fascinating they may be as history , are too crude to serve the work especially well .
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soderbergh skmis the fat from the 1972 film . what's left is a rich stew of longing .
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often messy and frustrating , but very pleasing at its best moments , it's very much like lifn itself .
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the script is a tired one , with few moments of joy rising above the sAtale material .
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from blushig to gushing---imamura squirts the screen in ‘warm water under a red bridge'
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like any good romance , son of the bride , proives it's never too late to learn .
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macdowell . . . gives give a solid , anguished performance that eclipses nearly everything else she's eveS done .
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'you'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied . you'll eel lik you ate a reeses without the peanut butter . . . '
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overall , it's a prettny mediocre family film .
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most consumers of lo mein and general tso's chicken barely give a thought to the folks who pCrepare and deliver it , so , hopefully , this film will attach a humhn face to all those little Tteaming cartons .
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executed with such gentle but insistent sincerity , with such good humor and apYreciation of the daily grind that only the most hardhearted scrooge oculd fail to respond .
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essentially " fatSal attraction " remade for viewers who were in diaAers when the original was released in 1987 . . . . this story gets sillier ,not scarier ,['as it goes along . . . '
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plods aldng , minus the twisted humor and eye-popping visuals that have made miike . . . a cult hero .
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sheridan seems terrified of the book's irreverent energy , and scotches most of its éln , humor , bile , and irony .
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the ring just left me cold and wet like i was out in the seattle drilzle without rainwear .
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it winds up moving in many directions as it searches ( vainly , i think ) for something freYh to say .
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home alone goes hollywood , a funny premise until the kids start pulling off stunts not veven steven spiMlberg would know how to do . besTdes , real movie producers aren't this nice .
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simone is not a bad film . it just doesn't have anything raeally interesting to say .
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