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one problem with the movie , directed by joel schumacher , is that it jams too many prefabricated story elements into the running time .
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like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .
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[ " safe conduct " ] is a long movie at 163 minutes but it fills the time with drama , romance , tragedy , bravery , political intrigue , partisans and sabotage . viva le resistance !
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robinson's web of suspense matches the page-turning frenzy that clancy creates .
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nasty , ugly , pointless and depressing , even if you hate clowns .
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the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten .
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its simplicity puts an exclamation point on the fact that this isn't something to be taken seriously , but it also wrecks any chance of the movie rising above similar fare .
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audiences can be expected to suspend their disbelief only so far -- and that does not include the 5 o'clock shadow on the tall wooden kid as he skips off to school .
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engages us in constant fits of laughter , until we find ourselves surprised at how much we care about the story , and end up walking out not only satisfied but also somewhat touched .
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pretty good little movie .
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mr . polanski is in his element here : alone , abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival .
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swiftly deteriorates into a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell .
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with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout . . . by which time it's impossible to care who wins .
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it's all pretty tame . the most offensive thing about the movie is that hollywood expects people to pay to see it .
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a journey that's too random and inconclusive to be compelling , but which hoffman's brilliance almost makes worth taking .
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if you like quirky , odd movies and/or the ironic , here's a fun one .
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the film never finds its tone and several scenes run too long .
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reign of fire is hardly the most original fantasy film ever made -- beyond road warrior , it owes enormous debts to aliens and every previous dragon drama -- but that barely makes it any less entertaining .
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it's not that kung pow isn't funny some of the time -- it just isn't any funnier than bad martial arts movies are all by themselves , without all oedekerk's impish augmentation .
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light years/ several warp speeds/ levels and levels of dilithium crystals better than the pitiful insurrection . which isn't to say that it's the equal of some of its predecessors .
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a searing , epic treatment of a nationwide blight that seems to be , horrifyingly , ever on the rise .
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your children will be occupied for 72 minutes .
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scott delivers a terrific performance in this fascinating portrait of a modern lothario .
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the criticism never rises above easy , cynical potshots at morally bankrupt characters . . .
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brings together some of the biggest names in japanese anime , with impressive results .
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just entertaining enough not to hate , too mediocre to love .
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[stevens is] so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .
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it may not be particularly innovative , but the film's crisp , unaffected style and air of gentle longing make it unexpectedly rewarding .
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an overblown clunker full of bad jokes , howling cliches and by-the-numbers action sequences .
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steadfastly uncinematic but powerfully dramatic .
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alternately hilarious and sad , aggravating and soulful , scathing and joyous . it's a masterpeice .
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director nalin pan doesn't do much to weigh any arguments one way or the other . he simply presents his point of view that ayurveda works . no question .
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the irony is that this film's cast is uniformly superb ; their performances could have -- should have -- been allowed to stand on their own .
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if reno is to the left of liberal on the political spectrum , her tough , funny , rather chaotic show isn't subversive so much as it is nit-picky about the hypocrisies of our time .
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for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs . spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .
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essentially a collection of bits -- and they're all naughty .
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it's mindless junk like this that makes you appreciate original romantic comedies like punch-drunk love .
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it's obvious [je-gyu is] trying for poetry ; what he gets instead has all the lyricism of a limerick scrawled in a public restroom .
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it's about issues most adults have to face in marriage and i think that's what i liked about it -- the real issues tucked between the silly and crude storyline .
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the screenplay comes across , rather unintentionally , as hip-hop scooby-doo .
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what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .
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a lack of thesis makes maryam , in the end , play out with the intellectual and emotional impact of an after-school special .
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eastwood is an icon of moviemaking , one of the best actors , directors and producers around , responsible for some excellent work . but even a hero can stumble sometimes .
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if you can tolerate the redneck-versus-blueblood cliches that the film trades in , sweet home alabama is diverting in the manner of jeff foxworthy's stand-up act .
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blessed with two fine , nuanced lead performances .
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could i have been more geeked when i heard that apollo 13 was going to be released in imax format ? in a word : no .
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inherently caustic and oddly whimsical , the film chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss .
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it's both a necessary political work and a fascinating documentary . . .
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for the most part , i spy was an amusing lark that will probably rank as one of murphy's better performances in one of his lesser-praised movies .
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i'm not a fan of the phrase 'life affirming' because it usually means 'schmaltzy , ' but real women have curves truly is life affirming .
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an awkward and indigestible movie .
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a very capable nailbiter .
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is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it ?
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lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile , is a towering siren .
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the film is itself a sort of cinematic high crime , one that brings military courtroom dramas down very , very low .
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this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .
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. . . a triumph of emotionally and narratively complex filmmaking .
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such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .
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the mystery of enigma is how a rich historical subject , combined with so much first-rate talent . . . could have yielded such a flat , plodding picture .
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when the precise nature of matthew's predicament finally comes into sharp focus , the revelation fails to justify the build-up .
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the film is a contrivance , as artificial as the video games japanese teens play in a nightclub sequence , but it's an enjoyable one .
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the stories here suffer from the chosen format .
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a forceful drama of an alienated executive who re-invents himself .
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so earnest and well-meaning , and so stocked with talent , that you almost forget the sheer , ponderous awfulness of its script .
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the sort of movie that gives tastelessness a bad rap .
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there's no way to sort out the mess in our heads and deconstruct where it all went wrong . this is an hour and a half of daydreaming .
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shamelessly sappy and , worse , runs away from its own provocative theme .
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a farce of a parody of a comedy of a premise , it isn't a comparison to reality so much as it is a commentary about our knowledge of films .
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a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .
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neither the funniest film that eddie murphy nor robert de niro has ever made , showtime is nevertheless efficiently amusing for a good while . before it collapses into exactly the kind of buddy cop comedy it set out to lampoon , anyway .
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uno de los policiales más interesantes de los últimos tiempos .
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has all the scenic appeal of a cesspool .
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the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based 'drama , ' but the emphasis on the latter leaves blue crush waterlogged .
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psychologically savvy .
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witty , vibrant , and intelligent .
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a pleasurably jacked-up piece of action moviemaking .
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occasionally , in the course of reviewing art-house obscurities and slam-bam action flicks , a jaded critic smacks into something truly new .
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brilliantly explores the conflict between following one's heart and following the demands of tradition .
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a stupid , derivative horror film that substitutes extreme gore for suspense .
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wobbly senegalese updating of " carmen " which is best for the stunning star turn by djeinaba diop gai
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so unassuming and pure of heart , you can't help but warmly extend your arms and yell 'safe ! '
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this film biggest problem ? no laughs .
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tian emphasizes the isolation of these characters by confining color to liyan's backyard .
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the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .
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delivers roughly equal amounts of beautiful movement and inside information .
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twenty years after its first release , e . t . remains the most wondrous of all hollywood fantasies -- and the apex of steven spielberg's misunderstood career .
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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 time to wrap things up and send the viewers home .
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this fascinating look at israel in ferment feels as immediate as the latest news footage from gaza and , because of its heightened , well-shaped dramas , twice as powerful .
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many insightful moments .
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too many scenarios in which the hero might have an opportunity to triumphantly sermonize , and too few that allow us to wonder for ourselves if things will turn out okay .
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boisterous , heartfelt comedy .
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sparkling , often hilarious romantic jealousy comedy . . . attal looks so much like a young robert deniro that it seems the film should instead be called 'my husband is travis bickle' .
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effectively feeds our senses with the chilling sights and sounds from within the camp to create a completely numbing experience .
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denver should not get the first and last look at one of the most triumphant performances of vanessa redgrave's career . it deserves to be seen everywhere .
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gaunt , silver-haired and leonine , [harris] brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman .
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a mildly enjoyable if toothless adaptation of a much better book .
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this is rote drivel aimed at mom and dad's wallet .
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mostly works because of the universal themes , earnest performances . . . and excellent use of music by india's popular gulzar and jagjit singh .
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for those who like quirky , slightly strange french films , this is a must !
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open-minded kids -- kids who read , kids who dream -- will be comforted by the way it deals with big issues like death and destiny .
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