amy and matthew have a bit of a phony relationship ,


thrill you


invite some genuine spontaneity into the film


boring movie


the film 's crisp , unaffected style and air of gentle longing make it unexpectedly rewarding


warped logic by writer-director kurt wimmer


to do with imagination than market research


of oral storytelling frozen onto film


a self-aware , often self-mocking , intelligence


awesome work : ineffable , elusive , yet inexplicably powerful


dramatic snapshot


portrays young brendan with his usual intelligence and subtlety , not to mention a convincing brogue .


an animation landmark as monumental as disney 's 1937 breakthrough snow white and the seven dwarfs .


the catch is that they 're stuck with a script that prevents them from firing on all cylinders .


sentiment and withholds delivery


we hate ( madonna ) within the film 's first five minutes


style and bold colors


more like stereotypical caretakers and moral teachers , instead


becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring


best performance


is a little too in love with its own cuteness


hilarious and


that 's not scary , not smart and not engaging


the comic elements of the premise ,


expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune ) than this cliche pileup


uncomfortably timely , relevant , and sickeningly real


could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation .


's an utterly static picture


hate it because it 's lousy


this fascinating experiment plays as more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air .


you peek at it through the fingers in front of your eyes


leave a lasting impression


miss it altogether , in part because the consciously dumbed-down approach wears thin


an old-fashioned scary movie ,


, inspiring


weak and ineffective ghost story


is were it not for the striking , quietly vulnerable personality of ms. ambrose


into an insular world that gives the lie to many clichés and showcases a group of dedicated artists


modern masculine journey


soars


the courage


manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity


is a very good viewing alternative for young women .


the animation master


for a long time the film succeeds with its dark , delicate treatment of these characters and its unerring respect for them .


gone wrong


the earmarks


quick-buck sequel


inventive director


sly , sophisticated and surprising .


director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things ,


the dragons are the real stars of reign of fire and


improves upon the original hit movie


such good humor


an oddity , to be sure , but one that you might wind up remembering with a degree of affection rather than revulsion .


demonstrates the unusual power of thoughtful , subjective filmmaking .


is a truly , truly bad movie .


happily , some things are immune to the folly of changing taste and attitude .


an unlimited amount of phony blood


going out and enjoying the big-screen experience


is tepid and tedious .


quirky and taken with its own style


one of the best


under-rehearsed


does everything


bogs down in genre cliches here .


scotland looks wonderful


it really is a shame that more wo n't get an opportunity to embrace small , sweet ` evelyn . '


more simply intrusive


jaw-dropping action sequences


acknowledges upfront that the plot makes no sense , such that the lack of linearity is the point of emotional and moral departure for protagonist alice


overrun modern-day comedies


it 's a movie that accomplishes so much that one viewing ca n't possibly be enough .


is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph


rarely does a film so graceless and devoid of merit as this one come along .


of delightful hand shadows


to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl


humanizing stuff


, ms. shreve 's novel proved too difficult a text to ` lick , ' despite the efforts of a first-rate cast .


brooding


gabbiest giant-screen movie


horrifyingly


even-toned direction


, brain-deadening hangover


deeply authentic


scant place


falls flat


depressing to see how far herzog has fallen


never cuts corners .


is the phenomenal , water-born cinematography by david hennings


contrived ,


's there to scare while we delight in the images


the genius of the work speaks volumes , offering up a hallucinatory dreamscape that frustrates and captivates .


exploit its gender politics , genre thrills or inherent humor


comedian , like its subjects , delivers the goods and audiences will have a fun , no-frills ride .


a smart , arch and rather cold-blooded comedy


should catch this imax offering


it 's a smart , funny look at an arcane area of popular culture , and if it is n't entirely persuasive , it does give exposure to some talented performers .


is the first film in a long time that made me want to bolt the theater in the first 10 minutes .


a lot of fun , with an undeniable energy


a beautiful paean to a time


the gifted crudup has the perfect face to play a handsome blank yearning to find himself


this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it .


bravery and dedication


visceral excitement


tartakovsky 's team has some freakish powers of visual charm


divine


the story really has no place to go since simone is not real --


unique way shainberg


which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title


nothing distinguishing in a randall wallace film


julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism


but disintegrates into a dreary , humorless soap opera


the duration of the film 's shooting schedule waiting to scream


satisfies , as comfort food often can


, captures a life interestingly lived


a literary detective story is still a detective story and aficionados of the whodunit wo n't be disappointed .


's undeniably hard to follow


hate it .


can rest contentedly with the knowledge that he 's made at least one damn fine horror movie


originality


ai n't art


has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal 's overweight and out of shape .


the attempt to build up a pressure cooker of horrified awe


has some freakish powers of visual charm


the unsettled tenor of that post 9-11 period far better


hypnotically dull .


juvenile delinquent


who is chasing who or


infectiously enthusiastic


rare


sustain an enjoyable level of ridiculousness


seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times


is structured less as a documentary and more as a found relic


the visceral excitement


suspenseful and ultimately unpredictable


the film does give a pretty good overall picture of the situation in laramie following the murder of matthew shepard .


spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet


a recommendation


shining


directed and convincingly acted


an honesty and dignity


enjoy much of jonah simply , and gratefully ,


ca n't wait to see end .


serry 's ability to take what is essentially a contained family conflict and put it into a much larger historical context


worth a salute just for trying to be more complex than your average film .


a powerful 1957 drama we 've somehow never seen before


's plenty to enjoy --


it has fun with the quirks of family life , but it also treats the subject with fondness and respect


to show the gentle and humane side of middle eastern world politics


final verdict


allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being .


is more complex and honest than anything represented in a hollywood film


beguiling


, '' it 's equally distasteful to watch him sing the lyrics to `` tonight . ''


girlfriends are bad , wives are worse and babies are the kiss of death in this bitter italian comedy .


there is no denying the power of polanski 's film ...


video before month 's end


, its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .


that 's suspenseful enough for older kids but not too scary for the school-age crowd


chamber of secrets will find millions of eager fans .


these components combine into one terrific story with lots of laughs .


just too bad the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain


of animated filmmaking since old walt


to be prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms


so it 's not a brilliant piece of filmmaking


the mill sci-fi film with a flimsy ending and lots of hype


's hard to like a film so cold and dead


damon/bourne or his predicament


'll wait in vain for a movie to happen .


pacino is the best he 's been in years and


able to provide insight into a fascinating part of theater history .


gives these women


will see nothing in it to match the ordeal of sitting through it .


tosses around sex toys and offers


fantastic


this clever and very satisfying picture is more accurately chabrolian .


moments out of an alice


looks genuinely pretty .


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 .


a great cast and a great idea


unexplainable pain


make great marching bands


fine actors


, glaring and unforgettable .


deserves to be seen everywhere .


thoughtful minor classic


is milked


its own ludicrous terms


poetic symbolism


a script that takes few chances and manages to insult the intelligence of everyone in the audience


has neither the charisma nor the natural affability that has made tucker a star


frames ) profound ethical and philosophical questions in the form of dazzling pop entertainment


cancer


a wonderful life marathons and bored


cliche-ridden film


a solid , unassuming drama .


that the bulk of the movie centers on the wrong character


, it 's clear that washington most certainly has a new career ahead of him


has a terrific look


thriller with enough unexpected twists to keep our interest


there are scenes of cinematic perfection that steal your heart away .


noble


they are in this tepid genre offering


fails to provoke them .


left me feeling refreshed and hopeful .


better at fingering problems than finding solutions


better than the phantom menace


is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .


demonstrates just how far his storytelling skills have eroded .


be underestimated


the story is just too clichéd and too often strains credulity


a flourish


's neither too erotic nor very thrilling , either .


quick-cut edits


family film sequel


an affectionately goofy satire that 's unafraid to throw elbows when necessary


in middle-of-the-road blandness


than a half-hearted fluke


has created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history .


proves himself a deft pace master and stylist .


fun and funny in the middle , though somewhat less hard-hitting


of exploiting molestation for laughs


` possession , ' based on the book by a.s. byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit


steven soderbergh does n't remake andrei tarkovsky 's solaris so much as distill it .


like coming into a long-running , well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .


that van wilder does little that is actually funny with the material


the film just might turn on many people to opera , in general


sprung to life


history in perspective


could n't help but feel the wasted potential of this slapstick comedy


rather listless amble


costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .


is n't very effective


he 's easy to like and always leaves us laughing


it must be the end of the world :


schlocky creature


feels like a copout


a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy


finesse


howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a ` literary ' filmmaking style to match his subject


schneidermeister ... makin ' a fool of himself ... losin ' his fan base


loosely speaking , we 're in all of me territory again , and


highly-praised


a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .


are idiosyncratic enough to lift the movie above its playwriting 101 premise


oppressively heavy


carries the day with impeccable comic timing , raffish charm and piercing intellect .


achieves its main strategic objective :


another best of the year selection


sad nonsense , this


uproarious humor with an underlying seriousness that sneaks up on the viewer , providing an experience that is richer than anticipated .


to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration


an inexplicable nightmare , right down to the population


something a little more special behind it :


the awkward interplay and utter lack of chemistry between chan and hewitt


inventive , consistently intelligent and


sure where self-promotion ends and the truth begins


as the protagonists struggled


melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements


of hype


an odd show , pregnant with moods ,


should have been worth cheering as a breakthrough but is devoid of wit and humor .


refreshingly forthright


perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective .


from the dull


in the power of the huston performance , which seems so larger than life and yet so fragile


are for children and dog lovers


that it is nearly impossible to look at or understand


excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol 's most intense psychological mysteries .


a heartfelt romance for teenagers


i did n't find much fascination in the swinging .


elegant , witty and beneath a prim exterior unabashedly romantic


watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .


with most of the big summer movies


gift


endure almost unimaginable horror


to abandon the theater


the predictable parent vs. child coming-of-age theme


progressed as nicely as ` wayne


this oscar-nominated documentary takes you there .


beats new life into it


splendid singing


a long time that made me want to bolt the theater in the first 10 minutes


do n't really care for the candidate


are not at all entertaining


deliberately and devotedly constructed , far from heaven is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .


stale plot and pornographic way


the self-serious equilibrium makes its point too well ; a movie , like life , is n't much fun without the highs and lows .


potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .


only the most practiced curmudgeon could fail to crack a smile at


in which the talent is undeniable


what gives human nature its unique feel


paced at a speed that is slow to those of us in middle age and


's an experience in understanding a unique culture that is presented with universal appeal .


together ( time out and human resources ) establish mr. cantet as france 's foremost cinematic poet of the workplace .


well established


, they finally feel absolutely earned


the most pitiful directing


a moving and solidly entertaining comedy/drama that should bolster director and co-writer juan josé campanella 's reputation in the united states .


, stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .


giant william randolph hearst


relaxed in its perfect quiet pace and proud in its message


based on ugly ideas instead of ugly behavior ,


an infomercial for ram dass 's latest book


long on twinkly-eyed close-ups and short on shame


of story and his juvenile camera movements


a temperamental child begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining


bolstered by exceptional performances


dog-paddle in the mediocre end of the pool


if that does n't clue you in that something 's horribly wrong , nothing will .


at least it 's a fairly impressive debut from the director , charles stone iii .


dark , intelligent warning cry


is far from disappointing , offering an original


lies ...


could just rent those movies instead , let alone seek out a respectable new one


she may not be real , but the laughs are


have thought possible


fluid


juliette binoche 's sand is vivacious , but it 's hard to sense that powerhouse of 19th-century prose behind her childlike smile .


an emotionally and spiritually compelling journey


released the outtakes theatrically and used the film as a bonus feature on the dvd


it pretends to expose the life of male hustlers


the spirit


, irredeemably awful .


unfolds as one of the most politically audacious films of recent decades


-- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama


nettelbeck ... has a pleasing way with a metaphor .


snoozer .


a heavy stench


is so slight


unnecessary films


at its visual delights


leaving you with some laughs and a smile on your face


a fascinating curiosity piece


amiable and committed


hop beat


the ensemble gives it a buoyant delivery


abandon all hope of a good movie ye who enter here


detailing


about bad cinema


boredom to the point


perfect wildean actor


with impeccable comic timing , raffish charm and piercing intellect


do n't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it 's a dish that 's best served cold .


that finally returns de palma to his pulpy thrillers of the early '80s


an emotionally satisfying exploration of the very human need


should be complaining when a film clocks in around 90 minutes these days


really cool


it was particularly funny


for conveying the way tiny acts of kindness make ordinary life survivable


superhero


clichés and borrowed images


possibilities which imbue the theme with added depth and resonance


is a must !


accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill


assured , vital


tediously exasperating


of life and small delights


( and better )


has the air of a surprisingly juvenile lark , a pop-influenced prank whose charms are immediately apparent and wear thin with repetition


general family chaos to which anyone can relate


technically sumptuous but


an effectively chilling guilty pleasure


saved from


a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )


as banal as the telling may be -- and at times , all my loved ones more than flirts with kitsch -- the tale commands attention .


only now it 's begun to split up so that it can do even more damage


aground after being snared in its own tangled plot


, the old mib label stands for milder is n't better .


stale and uninspired .


including the assumption that `` crazy '' people are innocent , childlike and inherently funny


priggish , lethargically paced parable of renewal .


makes it look like a masterpiece


content to recycle images and characters that were already tired 10 years ago


of a good time


a spiffy animated feature


the best sports movie


the troubling thing about clockstoppers


picture postcard perfect , too neat and new pin-like


prove that ` zany ' does n't necessarily mean ` funny


quirky and recessive charms


surprise us with plot twists


makes this a high water mark for this genre


badly-rendered


( hopkins ) does n't so much phone in his performance as fax it .


's suspenseful enough for older kids but not too scary


gives us the perfect starting point for a national conversation about guns , violence , and fear


make this an eminently engrossing film


let crocodile hunter steve irwin do what he does best


work better


about schmidt is undoubtedly one of the finest films of the year .


with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought


most importantly


should scare any sane person away


life 's wonderment


could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s


not only fails on its own , but makes you second-guess your affection for the original


remains brightly optimistic ,


scooby-doo does n't know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick .


mentally `` superior ''


its sleazy moralizing


amusedly ,


engaging ,


is so convincing that by movies ' end you 'll swear you are wet in some places and feel sand creeping in others


like the imaginary sport it projects onto the screen -- loud , violent and mindless


yet unforgivingly inconsistent


wo n't have any trouble getting kids to eat up these veggies .


in favor


-- sadly --


's all about anakin ... and the lustrous polished visuals rich in color and creativity and , of course , special effect .


affectionately


a great impression


, the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .


it 's hard to imagine anybody ever being `` in the mood '' to view a movie as harrowing and painful as the grey zone


a clumsily manufactured exploitation flick ,


farts , boobs


joyous documentary .


crudely


another wholly unnecessary addition


want to see over and over again


a rather bland affair .


of the nincompoop benigni persona


say that this vapid vehicle is downright doltish and uneventful


might just be better suited to a night in the living room than a night at the movies


a film about female friendship that men can embrace and women


finally succeeds in diminishing his stature from oscar-winning master to lowly studio hack .


with pitifully few real laughs


one of those movies barely registering a blip on the radar screen of 2002


as faithful portraiture


according to the script , grant and bullock 's characters are made for each other .


one of the best ensemble casts of the year


is nicely shot , well-edited and features a standout performance by diane lane


makes less sense than the bruckheimeresque american action flicks it emulates


is a loose collection of not-so-funny gags , scattered moments of lazy humor


for those who like quirky , slightly strange french films , this is a must !


runs 163 minutes


is devoid of wit and humor


that it 's tempting just to go with it for the ride


it never lacks in eye-popping visuals


a serious minded patience , respect and affection


uncharismatically


that 's suitable for all ages -- a movie that will make you laugh


enjoyable ease


it 's got the brawn , but not the brains .


pretty good little movie .


another classic


rehashes to feed to the younger generations


lack their idol 's energy and passion for detail .


one of this year 's very best pictures


more confused , less interesting and more sloppily


defend himself


gets sillier , not scarier


can make interesting a subject you thought would leave you cold


does a good job of establishing a time and place , and of telling a fascinating character 's story


its delivery is a complete mess


snide and


ache with sadness ( the way chekhov is funny )


a compassionate , moving portrait of an american ( and an america ) always reaching for something just outside his grasp


long workout


boom mikes


so flabby


half the excitement of balto ,


will assuredly


are nowhere near as vivid as the 19th-century ones


debuts by an esteemed writer-actor .


walked away from this new version of e.t. just as i hoped i would -- with moist eyes


emphasizes the computer and the cool


to big box office bucks all but guaranteed


telling


tattered and ugly past


a warm , fuzzy feeling prevails


the worst film of the year


brightly colored dreams


beautifully shaped


the holocaust escape story


humble


something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers


but even while his characters are acting horribly , he is always sympathetic .


in which most of the characters forget their lines


murphy and wilson actually make a pretty good team ...


as original and insightful


brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images


one of the best of a growing strain of daring films ... that argue that any sexual relationship that does n't hurt anyone and works for its participants is a relationship that is worthy of our respect


involving in its bold presentation


look like a masterpiece


an enthusiastic charm


but then again , i hate myself most mornings .


jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music


astonishingly condescending attitude


, it does n't even seem like she tried .


shyamalan should stop trying to please his mom .


demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .


it 's hard to shake the feeling that it was intended to be a different kind of film .


, do we have that same option to slap her creators because they 're clueless and inept ?


encompasses many more paths


the movie is concocted and carried out by folks worthy of scorn , and the nicest thing i can say is that i ca n't remember a single name responsible for it .


stylized humor throughout


're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over


is the equivalent of french hip-hop , which also seems to play on a 10-year delay .


to work us over , with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds


garcía bernal and talancón are an immensely appealing couple


traps audiences in a series of relentlessly nasty situations


i know that i 'll never listen to marvin gaye or the supremes the same way again


not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .


you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .


inside the massive waves that lifts blue crush into one of the summer 's most pleasurable movies


takes a simple premise and carries it to unexpected heights


are lacking


, the power of this movie is undeniable .


exceptional


its position


like shrek , spirit 's visual imagination reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world .


created a substantive movie out of several cliched movie structures : the road movie , the coming-of-age movie , and the teenage sex comedy .


frothing


brilliant performances


the movie 's messages are quite admirable


perfect family film


makes the formula fresh again


to forget that they are actually movie folk


gaping enough to pilot


are very expressive


beating the austin powers films at their own game


pokes , provokes


the procession


is the fact that there is nothing distinguishing in a randall wallace film .


the needlessly poor quality of its archival prints and film footage


this movie may not have the highest production values you 've ever seen , but it 's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep


, they 'll probably run out screaming .


sharply comic


( tries )


jolt you out of your seat a couple of times , give you a few laughs ,


a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had


like it


advantage


could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay


can depress you about life itself .


hard-to-predict and absolutely essential chemistry


to grow boring ... which proves that rohmer still has a sense of his audience


halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .


it 's dark but has wonderfully funny moments ;


guns , violence


the silliness


a solid formula


entirely wholesome )


most of the movie 's success


is so poorly paced you could fit all of pootie tang in between its punchlines


confident filmmaking


respects


trickery


managed to convey a tiny sense of hope


is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .


alexandre dumas classic


is more likely to induce sleep than fright


a tragic love story


any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice


focus , point and purpose


capable


mortal awareness


the new insomnia is a surprisingly faithful remake of its chilly predecessor ,


a pathetic , endearing hero


if allen , at 66 , has stopped challenging himself


it is an uneven film for the most part


contrived pastiche of caper clichés .


cold , gray , antiseptic and emotionally desiccated


seagal ran out of movies years ago , and


exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .


lasker 's canny , meditative script distances sex and love , as byron and luther


the really bad blair witch project


make such a worthless film


collapses


just another combination of bad animation and mindless violence ... lacking the slightest bit


will be on video long before they grow up and you can wait till then .


the movie attempts to mine laughs from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches is n't exactly endearing .


twinkling


endorses


mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work


you exit the theater


self-aware , often self-mocking , intelligence


creep the living hell out of you


like the guys


gets under our skin and draws us in long before the plot kicks into gear


the ridiculous dialog


is definitely a cut above the rest .


boozy


there is nothing redeeming about this movie .


be when he is not more lucratively engaged in the shameless self-caricature of ` analyze this ' ( 1999 ) and ` analyze that , ' promised ( or threatened ) for later this year


brilliant and macabre


endearing and easy


a ponderous and pretentious endeavor that 's unfocused and tediously exasperating


slapped together


a reminder of how they used to make movies , but also how they sometimes still can be made .


sag in certain places


a thrill


deeply affecting film


no more racist portraits of indians , for instance )


avary 's failure to construct a story with even a trace of dramatic interest


the problem with movies about angels is they have a tendency to slip into hokum .


has a lot of charm .


two ideas


absorbing documentary


the characters are paper thin


is worth your time , especially


destroy


queasy


the emotion is impressively true for being so hot-blooded , and both leads are up to the task


... a plotline that 's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project !


the action is stilted and


about telling what at heart is a sweet little girl


its strengths


a plodding mess


robert harmon 's less-is-more approach delivers real bump-in - the-night chills --


the kids in the audience at the preview screening seemed bored , cheering the pratfalls but little else ; their parents , wise folks that they are , read books


'll find in this dreary mess


powerful and provocative


is a just a waste .


is not really a film as much as it is a loose collection of not-so-funny gags , scattered moments of lazy humor .


that is even lazier and far less enjoyable .


pleasant in spite of its predictability


she is a lioness ,


of some children who remain curious about each other against all odds


jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat


aims to confuse


there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but `` elling '' manages to do all three quite well , making it one of the year 's most enjoyable releases


finds no way to entertain or inspire its viewers .


comes off winningly


the best film


takes a walking-dead , cop-flick subgenre and beats new life into it .


` comedy ' scenes


very pleasing at its best moments


awkwardly contrived exercise


two fine actors , morgan freeman and ashley judd


is an unsettling picture of childhood innocence combined with indoctrinated prejudice .


the more serious-minded concerns


while the story 's undeniably hard to follow


is not quite the career peak


can comfortably hold


it would still be beyond comprehension


nelson 's intentions are good , but


with a sour taste in one 's mouth , and little else


retrospectively , his most personal work yet .


by on angelina jolie 's surprising flair for self-deprecating comedy


in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people


arliss howard 's ambitious , moving , and adventurous directorial debut ,


talk down to them


popular


sure which will take longer to heal : the welt on johnny knoxville 's stomach from a riot-control projectile or my own tortured psyche


a disappointment for a movie that should have been the ultimate imax trip


cliché-riddled


is a self-aware , often self-mocking , intelligence .


kill the effect


feel realistic .


authentically impulsive humor


's one of the worst of the entire franchise


a weird little movie


've marveled at disney 's rendering of water , snow , flames and shadows in a hand-drawn animated world .


often hilarious romantic jealousy comedy


emotionally vapid


better


the world 's political situation


forget the misleading title , what 's with the unexplained baboon cameo ?


who seem barely in the same movie


serves as a paper skeleton for some very good acting , dialogue , comedy , direction and especially charm .


was only


a dull girl , that 's all


it squanders chan 's uniqueness


can i admit xxx is as deep as a petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure ?


hates criticism so much that he refuses to evaluate his own work


slightly sunbaked and summery mind , sex and lucia


rising above similar fare


detailed


fat , dumb


hashiguchi vividly captures the way young japanese live now , chafing against their culture 's manic mix of millennial brusqueness and undying , traditional politesse .


a tasty masala .


their idol 's energy and passion


're engulfed by it .


the road warrior


intellectual and emotional pedigree


a fast paced and suspenseful argentinian thriller


less funny than it should be and less funny than it thinks it is .


into corny sentimentality


the cleverest


is small and shriveled


by a warmth that is n't faked


, sweet home alabama is n't as funny as you 'd hoped .


its plot and animation offer daytime tv serviceability , but little more .


of high romance , brought off with considerable wit


may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .


's the kind of under-inspired , overblown enterprise that gives hollywood sequels a bad name


wonderous accomplishment


emotionally strong and politically potent


the kind of effectively creepy-scary thriller


jagged , as if filmed directly from a television monitor


as sand , who brings to the role her pale , dark beauty and characteristic warmth


rare directors


it 's secondary to american psycho but still has claws enough to get inside you and stay there for a couple of hours .


mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .


serves as a painful elegy and sobering cautionary tale


listless


ray liotta


no psychology here ,


hardly an objective documentary


vaunted empathy


of unfaithful


pathetic , endearing


it emerges as another key contribution to the flowering of the south korean cinema


wise-beyond-her-years


a small gem of a movie that defies classification and is as thought-provoking as it is funny , scary and sad .


awkward version


unhibited


unbreakable


tries to grab us , only to keep letting go at all the wrong moments


strike a chord


alternates between deadpan comedy and heartbreaking loneliness and is n't afraid to provoke introspection in both its characters and its audience .


fills it with spirit , purpose and emotionally bruised characters who add up to more than body count


one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace


a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue


could possibly be more contemptuous of the single female population .


it dull , lifeless , and irritating


moore 's ) better at fingering problems than finding solutions .


absurdities and inconsistencies


a smear


a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents


's nothing remotely topical or sexy here .


in the travails of creating a screenplay


the writer-director of this little $ 1.8 million charmer , which may not be cutting-edge indie filmmaking


this time , the hype is quieter , and while the movie is slightly less successful than the first , it 's still a rollicking good time for the most part .


a summer entertainment adults can see without feeling embarrassed , but it could have been more .


children , a heartfelt romance for teenagers and a compelling argument about death


elvira fans


's nothing to gain from watching they


, the movie bogs down in rhetoric and cliché .


too dark to be decipherable


took three minutes of dialogue , 30 seconds of plot and


with all the blanket statements and dime-store ruminations on vanity


provides a nice change of mindless pace in collision


the ideal casting


too few


unpredictable , hilarious


make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller '


the insightful writer/director


wildly inventive


, girls ca n't swim represents an engaging and intimate first feature by a talented director to watch , and it 's a worthy entry in the french coming-of-age genre .


elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .


the movie is such a blip on the year 's radar screen that it 's tempting just to go with it for the ride .


observant , unfussily poetic


sincerity


weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens


show real heart


a sensitive and astute first feature by anne-sophie birot .


roiling


as an exploratory medical procedure or an autopsy


unstable


this crude


the early and middle passages are surprising in how much they engage and even touch us .


... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


do n't care what kind of sewage they shovel into their mental gullets to simulate sustenance


look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy


could have been a confusing and horrifying vision into an intense and engrossing head-trip


is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer


the movie 's major and most devastating flaw


solid sci-fi thriller


otherwise , this could be a passable date film .


the cold light


a subzero version


a great deal of fun


this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .


blade 2


capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark


neither as scary-funny as tremors


moronic


with a grand whimper


each scene drags , underscoring the obvious , and sentiment is slathered on top


most exciting action films


press the delete key .


ravishing


incapable of controlling his crew


of a paranoid and unlikable man


really horrible drek .


an interesting psychological game of cat-and-mouse , three-dimensional characters and believable performances all add up to a satisfying crime drama .


well cast and well directed - a powerful drama with enough sardonic wit to keep it from being maudlin .


modern master


the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and the violence is at once luridly graphic and laughably unconvincing


is the film roman polanski may have been born to make


imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama


who play their roles with vibrant charm


the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .


remind us of how very bad a motion picture can truly be


neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .


best movie


buried somewhere inside its fabric , but never clearly seen


would be great to see this turd squashed under a truck , preferably a semi


terrible , banal dialogue


bad


good old fashioned spooks


kiddie entertainment , sophisticated wit


killing its soul


it 's exploitive without being insightful .


however


's unburdened by pretensions to great artistic significance


went back to newcastle , the first half of gangster no. 1 drips with style and , at times , blood .


still rapturous after all these years , cinema paradiso stands as one of the great films about movie love .


is an entirely foreign concept


keeping the balance between the fantastic and the believable


one of the most curiously depressing


i 'll buy the criterion dvd .


do well to cram earplugs


recent successes


pleasure


its emphasis on caring for animals and respecting other cultures is particularly welcome


us right into the center of that world


like schindler 's list


the modern day


does n't deserve the energy it takes to describe how bad it is


oddly sweet comedy


with flashes of warmth and gentle humor


boldly , confidently orchestrated , aesthetically and sexually


thoughtful examination


an engaging and intimate first feature


the theme does n't drag an audience down


contrived and exploitative for the art houses and too cynical , small and decadent for the malls .


the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .


a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock


's destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics


despite its flaws , crazy as hell marks an encouraging new direction for la salle .


none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal ''


's lovely


one of mr. chabrol 's subtlest works


stirring


the career peak


, with his brawny frame and cool , composed delivery , fits the bill perfectly


unfunny one


they sometimes still can be made


remarkable and novel


effective film


most enjoyable releases


one it follows into melodrama and silliness


boiled hollywood argot


brings a beguiling freshness


the small screen


powerful and


soars above the globe in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm .


executed with such gentle but insistent sincerity


unsophisticated


a freshly painted rembrandt


is inane and awful


have no affinity for most of the characters


in integrating the characters in the foreground into the extraordinarily rich landscape


finest films


a standout performance


nothing overly original


unique , well-crafted psychological study


be another shameless attempt by disney


almost unimaginable horror


funniest


is almost certainly going to go down as the worst -- and only -- killer website movie of this or any other year


likeable


from director mark romanek 's self-conscious scrutiny


sometimes creepy intimacy


but blatantly biased


soderbergh 's best films , `` erin brockovich , ''


like jimmy 's routines


the last kiss will probably never achieve the popularity of my big fat greek wedding , but its provocative central wedding sequence has far more impact .


virtuosic set pieces


kwan is a master of shadow , quietude , and room noise , and lan yu is a disarmingly lived-in movie .


tries-so-hard-to-be-cool


wisely decided to let crocodile hunter steve irwin do what he does best , and fashion a story around him .


pretty much self-centered


seems to have recharged him .


is ultimately thoughtful without having much dramatic impact


not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching


pick your nose instead because you 're sure to get more out of the latter experience


the pitfalls


that tell the best story


in such odd plot


ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents


see it for the passion


good material


's notably better acted -- and far less crass - than some other recent efforts in the burgeoning genre of films about black urban professionals


irritates and saddens


a kind


breathes extraordinary life


entertaining , self-aggrandizing , politically motivated


skip the film and pick up the soundtrack


layered richness


boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years .


behold in its sparkling beauty


can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .


texan director george ratliff had unlimited access to families and church meetings ,


sedate


bogs down in rhetoric and cliché .


a huge sacrifice


while the frequent allusions to gurus and doshas will strike some westerners as verging on mumbo-jumbo ... broad streaks of common sense emerge with unimpeachable clarity .


fred schepisi 's tale of four englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point .


clips of a film that are still looking for a common through-line


sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening


the places , and the people ,


with fondness and respect


this is a frustrating patchwork : an uneasy marriage of louis begley 's source novel ( about schmidt ) and an old payne screenplay .


dry of humor , verve and fun


darker


winning piece


spends a bit too much time


undeniable energy


nobody in the viewing audience cares


on par with the first one


wo n't still be tapping


that peace is possible


even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it 's documenting .


if you appreciate the one-sided theme to lawrence 's over-indulgent tirade


it is refreshingly undogmatic about its characters .


been exhausted by documentarians


contradictory , self-hating , self-destructive ways


no , i do n't know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money .


ultra-violent


so many bad romances out there


that allows americans to finally revel in its splendor


unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes


eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth ,


a middle-aged romance


are presented in convincing way


but every bit as filling as the treat of the title


takashi miike keeps pushing the envelope


the entire cast is first-rate , especially sorvino .


, absurd collection


no teeth


enough cool fun here to warm the hearts of animation enthusiasts of all ages


grow into a movie career


is not the director at his most sparkling


the film has ( its ) moments


telegraphs every discovery and layers on the gloss of convenience .


is a wish a studio 's wallet makes


is like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot .


rollicking adventure


( tries ) to parody a genre that 's already a joke in the united states .


think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch


buoyant energy level


younger generations


feel absolutely


homage


showcases tom hanks as a depression era hit-man in this dark tale of revenge


schizo


process of imparting knowledge .


as well as rank frustration from those in the know about rubbo 's dumbed-down tactics )


a mix of gritty realism , crisp storytelling and radiant compassion that effortlessly draws you in .


what lee does so marvelously compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america ... sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight


guts and crazy beasts stalking men with guns though ... you will likely enjoy this monster .


astounds


live happily ever


often exquisite


scandal


if ( jaglom 's ) latest effort is not the director at his most sparkling , some of its repartee is still worth hearing .


are too cute


kids = misery


pointed personalities


whenever it threatens to get bogged down in earnest dramaturgy , a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us .


funny and , in the end ,


often watchable , though goofy and lurid ,


expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune )


will probably be a talky bore


it could be , by its art and heart , a necessary one .


served


a zinger-filled crowd-pleaser that open-minded elvis fans ( but by no means all )


transforms one of ( shakespeare 's ) deepest tragedies into a smart new comedy .


give credit to affleck .


discordant


invaluable service


gross-out flicks ,


am more offended by his lack of faith in his audience than by anything on display


muting


shows moments of promise


sham actor workshops and


serving sara is little more than a mall movie designed to kill time .


funny , somber , absurd , and , finally , achingly sad , bartleby is a fine , understated piece of filmmaking .


interesting technical exercise


too slow


is like having two guys yelling in your face for two hours .


slice of hitchcockian suspense .


than anything seen on jerry springer


contemporary chinese life this exciting new filmmaker has brought to the screen


aimlessly


solemn insights


a collection of wrenching cases is corcuera 's attention to detail .


should avoid this like the dreaded king brown snake


with an adequate reason why we should pay money for what we can get on television for free


watching it was painful


one gets the feeling that the typical hollywood disregard for historical truth and realism is at work here


reminds at every turn of elizabeth berkley 's flopping dolphin-gasm


paul grabowsky 's excellent music


if disingenuous ,


redundancies


a few cheap shocks


the actors improvise and scream their way around this movie directionless , lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen .


troubled and determined homicide cop


is an intelligent flick that examines many different ideas from happiness to guilt in an intriguing bit of storytelling .


road trip


without any of its satirical


the delicate tightrope between farcical and loathsome


matches the page-turning frenzy


be inside looking out , and at other times outside looking in


it 's too long


stealing harvard ca n't even do that much .


good for the goose


what new best friend does not have , beginning with the minor omission of a screenplay


a huge disappointment coming , as it does


it already has one strike against it .


an exhilarating new interpretation in morvern callar


ben affleck


unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck .


comedic bliss


to have been conjured up only 10 minutes prior to filming


sleepwalk through vulgarities in a sequel you can refuse .


is a terrific role for someone like judd , who really ought to be playing villains


more abhorrent


powerful and universal


quaid is utterly fearless as the tortured husband living a painful lie , and moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver .


peculiarly moral amorality


bespeaks an expiration date passed a long time ago


is wondrously creative .


's surprisingly bland despite the heavy doses of weird performances and direction .


a bizarre piece of work , with premise and dialogue at the level of kids ' television and plot threads as morose as teen pregnancy , rape and suspected murder


you 'll forget about it by monday , though , and


( caine ) proves once again he has n't lost his touch , bringing off a superb performance in an admittedly middling film .


a sane regimen


of the most interesting writer/directors


an undercurrent of loneliness and isolation


the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated ,


my big fat greek wedding is a non-stop funny feast of warmth , color and cringe .


's a movie that ends with truckzilla , for cryin ' out loud


is pushed into the margins by predictable plotting and tiresome histrionics .


writer and director burr steers knows the territory


humorous


being a true adaptation of her book


is clever and funny


undeniably gorgeous


the evening to end


, and genius


her life half-asleep


what 's missing is what we call the ` wow ' factor .


profound ethical and philosophical questions in the form of dazzling pop entertainment


, it is more likely to induce sleep than fright .


spend 110 claustrophobic minutes


false and fabricated


of rancid , well-intentioned , but shamelessly manipulative movie making


is n't a product of its cinematic predecessors so much as an mtv , sugar hysteria , and playstation cocktail .


there is a mediocre movie trying to get out .


compelling plots


food-for-thought cinema


crushingly self-indulgent spectacle


, luridly colored , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain


tremendous chemistry


the writing is clever and the cast is appealing


brilliantly shines on all the characters , as the direction is intelligently accomplished .


its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity


intimate than spectacular


a portrait of two strong men in conflict


its appeal


in bad stage dialogue


deep , uncompromising curtsy


quality band


the movie 's various victimized audience members


this picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer .


tedious


, but because of the startling intimacy


scorcher


recognize it


real-life hollywood fairy-tale


is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture .


increasingly emphasizes the computer and the cool


enjoyable feel-good family comedy


, evelyn comes from the heart .


dark , intelligent


fluid and mesmerizing sequence


gross-out flicks , college flicks , or even flicks in general


tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device


, you know there 's something there .


the german film industry can not make a delightful comedy centering on food


as a cult film


revisionist fancy


is greatness here .


get out your pooper-scoopers .


i say , entertaining


is to ponder how a whole segment of pop-music history has been allowed to get wet , fuzzy and sticky .


thanks to remarkable performances


pushing the jokes at the expense of character


old story


that something hip and transgressive was being attempted here that stubbornly refused to gel


contrived , lame screenplay


is n't as compelling or as believable


is that i truly enjoyed most of mostly martha while i ne


intelligent subtlety


in itself , is extraordinary .


clear-cut hero


exceedingly memorable one for most people


about the thousands of americans who die hideously


you can practically hear george orwell turning over .


a zany mix


after that it becomes long and tedious like a classroom play in a college history course .


are very , very good reasons


the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes


's actually sort of amazing


we have absolutely no idea who the main characters are until the film is well under way -- and yet it 's hard to stop watching .


it 's a bad sign when you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over , but it 's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest


offers big , fat , dumb laughs that may make you hate yourself for giving in .


scarcely worth


whatever flaws igby goes down may possess , it is undeniably that


, the film grows as dull as its characters , about whose fate it is hard to care .


shakespeare 's better known tragedies


you 'd do well to check this one out because it 's straight up twin peaks action ...


an interesting character


brave and


please history fans


few seconds


that something so short could be so flabby


are telegraphed in the most blithe exchanges gives the film its lingering tug


two big things are missing -- anything approaching a visceral kick , and anything approaching even a vague reason to sit through it all .


to escape from director mark romanek 's self-conscious scrutiny


and just plain dumb


is like nothing we westerners have seen before .


thought out


drowsy drama


glory


savage full-bodied wit


make like the title and dodge this one .


a skillful fisher


clumsy and


his effortless performance


a brutal and funny work .


feel the wasted potential of this slapstick comedy


enjoyed most of mostly martha


' i know how to suffer ' and if you see this film you 'll know too .


introduce video as art


good and ambitious


viewer to doze off for a few minutes or make several runs to the concession stand and/or restroom and not feel as if he or she has missed anything


a first-class , thoroughly involving b movie that effectively combines two surefire , beloved genres -- the prison flick and the fight film


considerable skill and determination , backed by sheer nerve


makes a feature debut that is fully formed and remarkably assured


can get on television for free


the movie 's plot is almost entirely witless and inane , carrying every gag two or three times beyond its limit to sustain a laugh .


soulful , incisive meditation


is n't scary .


seen and debated with appropriate ferocity and thoughtfulness


of lazy humor


in the film , which gives you an idea just how bad it was


just bad


added clout


wholly unconvincing


most appealing


the subtle direction


comes from tv reruns and supermarket tabloids


such a dependable concept was botched in execution


there 's no rooting interest


kitschy , flashy , overlong soap opera .


ridiculousness


distracts


with so much passion


a few big laughs


director carl franklin adds enough flourishes and freak-outs to make it entertaining


is still very much worth


a sequel you can refuse


bad soap opera


pacing and lack


my seat trying to sneak out of the theater


worthwhile themes


threw medical equipment at a window


infinitely wittier version


ebullient tunisian film


acting , poorly dubbed dialogue and murky cinematography


invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once ?


forcefully told , with superb performances throughout


are laughs aplenty


incapable


that 's because panic room is interested in nothing more than sucking you in ... and making you sweat .


a fascinating study


festers in just such a dungpile that you 'd swear you were watching monkeys flinging their feces at you .


the treat of the title


a vanity project


horrifyingly ,


less funny


intriguing story


chouraqui no doubt intended the film to affirm love 's power to help people endure almost unimaginable horror


hampered


missing a beat


's not an original character , siuation or joke in the entire movie


an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise


ensures the film never feels draggy


mr. deeds is , as comedy goes , very silly -- and in the best way


the film 's intimate camera work and searing performances pull us deep into the girls ' confusion and pain as they struggle tragically to comprehend the chasm of knowledge that 's opened between them .


utter cuteness


one of the most splendid


spikes of sly humor


confusing sexual messages


screenplay to die for


one-sided documentary


, it 's really little more than a particularly slanted , gay s/m fantasy , enervating and deadeningly drawn-out .


that is revelatory


artsy and


'd grab your kids and run and then probably call the police .


refracting all of world war ii through the specific conditions of one man


such a lousy way


to be intimate and socially encompassing


jumps around with little logic or continuity ,


overflows with wisdom and emotion


realistic characters


induces a kind of abstract guilt ,


wear thin on all


leaves a bitter taste .


of strictly a-list players


not completely loveable -- but what underdog movie since the bad news bears has been ?


a spirited film and


she 's pretty and she can act --


tends to speculation , conspiracy theories or , at best , circumstantial evidence


to see another car chase , explosion or gunfight again


the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .


life-embracing spirit


grievous but obscure complaint


paced at a speed that is slow to those of us in middle age and deathly slow to any teen


makes the right choices at every turn


a bored cage


without cheesy fun factor .


while certainly clever in spots , this too-long , spoofy update of shakespeare 's macbeth does n't sustain a high enough level of invention .


deliver awe-inspiring , at times sublime , visuals


a bore


a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb


start to drag as soon as the action speeds up


to do with 94 minutes


a cinematic touchstone


just how well


's a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's .


embarrassment and others


poignancy , and intelligence


's just merely very bad


feels secondhand , familiar -- and not in a good way .


this loose collection of largely improvised numbers


more dutiful than enchanting ... terribly episodic and lacking the spark of imagination that might have made it an exhilarating


there are some movies that hit you from the first scene


a clumsily manufactured exploitation flick , a style-free exercise in manipulation and mayhem


reeked of a been-there , done-that sameness


the last 15 minutes


the gentle and humane side


stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast


solid formula


the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empathy


often inspiring


about the optimism of a group of people who are struggling to give themselves a better lot in life than the ones


results that are sometimes bracing


there 's a scientific law to be discerned here that producers would be well to heed : mediocre movies start to drag as soon as the action speeds up


a compelling investigation


is a such a brainless flibbertigibbet


a way to make j.k. rowling 's marvelous series into a deadly bore


felt work about impossible , irrevocable choices and the price of making them .


will certainly succeed in alienating most viewers


tender ,


binks


comedy fare


is akin to a reader 's digest condensed version of the source material .


rank frustration from those in the


could n't care less


very ugly ,


a distinctly minor effort


are acting like puppets


really horrible


martha will leave you with a smile on your face and a grumble in your stomach .


might more accurately be titled mr. chips off the old block


beautifully shot against the frozen winter landscapes of grenoble and geneva , the film unfolds with all the mounting tension of an expert thriller , until the tragedy beneath it all gradually reveals itself .


perfectly captures the wonders and worries of childhood


friday the 13th


the surest bet


a lush , swooning melodrama


glaring and unforgettable


undeniable entertainment value


profane and exploitative as the most offensive action flick you 've ever seen .


laughed throughout the movie


uglier


scrutinize


crafted a deceptively casual ode to children and


while the highly predictable narrative falls short , treasure planet is truly gorgeous to behold .


talk to her is so darned assured


the art direction is often exquisite , and the anthropomorphic animal characters are beautifully realized through clever makeup design , leaving one to hope that the eventual dvd release will offer subtitles and the original italian-language soundtrack


thrills and extreme emotions


has flopped as surely as a soufflé gone wrong


clients


a slam-bang extravaganza that


a set of heartfelt performances


deserves a better vehicle than this facetious smirk of a movie


nicholas nickleby celebrates the human spirit with such unrelenting dickensian decency that it turned me ( horrors ! )


a forceful drama of an alienated executive who re-invents himself .


such exuberance and passion


as gory as the scenes of torture and self-mutilation may be , they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting .


a story that 's shapeless and uninflected


's as sweet as greenfingers


the distinct and very welcome sense


's quite fun in places


is an act of spiritual faith -- an eloquent , deeply felt meditation on the nature of compassion .


attempts to fuse at least three dull plots into one good one .


the script manages the rare trick of seeming at once both refreshingly different and reassuringly familiar .


with bogus profundities


as well as a masterfully made one


a passion for cinema , and indeed sex ,


tremendous promise


a shallow rumination


career peak


, they 're merely signposts marking the slow , lingering death of imagination .


original


though , there is a really cool bit -- the movie 's conception of a future-world holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized .


shamelessly money-grubbing


in trapped


is a convincing one


believable and heart-wrenching


vibrant , colorful world


confessions is n't always coherent , but it 's sharply comic and surprisingly touching , so hold the gong


funny little film


that one in clockstoppers , a sci-fi thriller as lazy as it is interminable


the testosterone-charged wizardry of jerry bruckheimer productions


misguided comedy


about a horrifying historical event


seems inconceivable


rare combination


groundbreaking


plot conceits


the poor quality of pokemon 4 ever is any indication


solid performances and eerie atmosphere


fails to provide much more insight than the inside column of a torn book jacket


die


it 's awfully entertaining to watch .


ritchie 's film is easier to swallow than wertmuller 's polemical allegory , but it 's self-defeatingly decorous .


the slow parade


embedded in the sexy demise of james dean


less an examination of neo-nazism than a probe into the nature of faith itself


years and years of costly analysis could never fix


the movie completely transfixes the audience .


he ca n't disguise that he 's spiffing up leftovers that are n't so substantial or fresh


true and historically significant


fulford-wierzbicki ... deftly captures the wise-beyond-her-years teen .


easy , cynical potshots at morally bankrupt characters


pick up the durable best seller smart women , foolish choices for advice


little else


entertain all ages


fresh good looks and


about the passions that sometimes fuel our best achievements and other times


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 crazed , overtly determined young woman and a one-night swim turns into an ocean of trouble


excellent performances from jacqueline bisset and martha plimpton


if only it were that grand a failure


a genuinely funny ensemble comedy that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives .


of determination and the human spirit


has a delightfully dour , deadpan tone and stylistic consistency


passably


, it still comes off as a touching , transcendent love story .


little is done to support the premise other than fling gags at it to see which ones shtick .


beautifully shot against the frozen winter landscapes of grenoble and geneva


schnitzler does a fine job contrasting the sleekness of the film 's present with the playful paranoia of the film 's past . '


just brilliant in this


the talented


when it 's really an exercise in gross romanticization of the delusional personality type


terribly obvious


created a monster but did n't know how to handle it .


book-on-tape


the original was n't a good movie


the blair witch formula for an hour , in which we 're told something creepy and vague is in the works


would recommend big bad love only to winger fans who have missed her since 1995 's forget paris .


reminds me of a vastly improved germanic version of my big fat greek wedding


will no doubt


the screenwriter responsible for one of the worst movies of one year


bright future


an exhausted , desiccated talent who ca n't get out of his own way


it 's absolutely amazing how first-time director kevin donovan managed to find something new to add to the canon of chan .


delivers a magnetic performance


oscar winners


a dull , dumb and derivative horror film


manage to hit all of its marks


new texture , new relevance , new reality


look no further


nettelbeck has crafted an engaging fantasy of flavors and emotions , one part romance novel , one part recipe book .


too much of a plunge


singing and finger snapping it might have held my attention , but as it stands i kept looking for the last exit from brooklyn .


makes one of the great minds of our times interesting and accessible


wildly uneven movie


is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory


begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy


talented people


is such a perfect medium for children ,


riveting , brisk delight


riveting memories are rendered with such clarity that it 's as if it all happened only yesterday


, it 's hard to figure the depth of these two literary figures , and even the times in which they lived .


stakes out the emotional heart of happy .


friday after next


's got just enough charm and appealing character quirks to forgive that still serious problem


check it out


looking for astute observations and coming up blank


raunchy and


acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses


, organic character work


cinematic poet


the filmmakers ' eye for detail and


were all over this `` un-bear-able '' project


besotted and obvious drama


is fun , and host to some truly excellent sequences


scoring high for originality of plot


no signs of life


williams absolutely nails sy 's queasy infatuation and overall strangeness .


an absurdist spider web .


it 's a movie that gets under your skin .


move so easily across racial and cultural lines in the film


relationship and


does n't really know or care about the characters , and


the film never finds its tone and several scenes run too long .


comic parody and pulp melodrama , this smart-aleck movie ... tosses around some intriguing questions about the difference between human and android life


fantastic


a deceptively simple premise


determined , ennui-hobbled


brave , uninhibited


, repetitive and ragged


an eye-boggling blend of psychedelic devices , special effects and backgrounds , ` spy kids 2 '


it 's pleasant enough


it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are ` edgy . '


the great equalizer that can calm us of our daily ills and bring out joys in our lives that we never knew


a modestly made but profoundly moving documentary .


because he gives the story some soul


downright transparent is the script 's endless assault of embarrassingly ham-fisted sex jokes that reek of a script rewrite designed to garner the film a `` cooler '' pg-13 rating .


appealing blend


discursive but oddly riveting documentary .


lulls you into a gentle waking coma


a moratorium


terribly episodic


wal-mart checkout line


relied too much on convention


consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire .


dreary movie .


feels like a glossy rehash .


of breathtaking mystery


, personal film


a dazzling thing to behold -- as long as you 're wearing the somewhat cumbersome 3d goggles the theater provides .


donovan ... squanders his main asset , jackie chan , and fumbles the vital action sequences .


this might not seem like the proper cup of tea ,


changing times , clashing cultures and the pleasures of a well-made pizza


, witless mess


not scary


unbearable when it is n't merely offensive .


in a big way


remains uniquely itself


made for the big screen , some for the small screen


despair and


is greatness


of unrecoverable life


no cliche escapes the perfervid treatment of gang warfare


shadyac 's perfunctory directing chops


does n't do more than expand a tv show to movie length .


a column of words can not adequately describe co-writer/director peter jackson 's expanded vision of j.r.r. tolkien 's middle-earth


profoundly devastating events


cumbersome


's a wise and powerful tale of race and culture forcefully told , with superb performances throughout


it suffers from too much norma rae and not enough pretty woman


below


animation back 30 years , musicals back 40 years and judaism back at least 50


you , like me , think an action film disguised as a war tribute is disgusting to begin with


far more often than the warfare itself --


on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue


emerging in world cinema


grating


, food-for-thought cinema


consistently clever and suspenseful .


put on an intoxicating show .


average formulaic romantic quadrangle


forgets


the sweetest thing leaves an awful sour taste .


catch the pitch of his poetics , savor the pleasure of his sounds and images , and


low-brow humor


well-written and


it would have just gone more over-the-top instead of trying to have it both ways


the profoundly devastating events of one year ago


trying to forget


than a movie , which normally is expected to have characters and a storyline


too big


( jackson and bledel ) seem to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd .


close to being exciting


sometimes murky , always brooding look


lackluster


holds up well


none of this sounds promising


went over my head or


in its laid-back way


as earnest as a community-college advertisement , american chai is enough to make you put away the guitar , sell the amp , and apply to medical school .


conspicuous success


more of a poetic than a strict reality ,


sophomoric


the most savory and hilarious guilty pleasure


smartly played and smartly directed .


makes an amazing breakthrough


it 'll only put you to sleep .


often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .


there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .


hitting all of its assigned marks to take on any life of its own


harvey weinstein 's bluff personal style


we had to endure last summer ,


beautiful , evocative


here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .


kaufman and gondry rarely seem sure of where it should go


of female audience members drooling over michael idemoto as michael


this is surely one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio .


especially charm


engaging , imaginative filmmaking


gorgeousness


unforgettable


dumb gags , anatomical humor


proves preposterous , the acting is robotically italicized ,


scum


a low-key , organic way


knows everything and answers all questions , is visually smart , cleverly written , and


, hart 's war has much to recommend it , even if the top-billed willis is not the most impressive player .


promises is one film that 's truly deserving of its oscar nomination .


very best movies


a cinematic postcard


, tender and heart-wrenching


extraordinary


a young american ,


's hard to imagine a more generic effort in the genre .


none of this is meaningful or memorable , but frosting is n't , either


all the pieces fall together without much surprise , but


marveled at disney 's rendering of water , snow , flames and shadows in a hand-drawn animated world


no wit


observant of his characters


vampire fun


a touching drama about old age and grief with a tour de


is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate


watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say , when carol kane appears on the screen


there to scare while we delight in the images


were stripped of most of his budget and all of his sense of humor


s1m0ne 's satire is not subtle , but


self-hatred instilled


politics


more likely to have you scratching your head than hiding under your seat .


over-blown drama


raises the film above anything sandler 's been attached to before .


often likable , but just as often it 's meandering , low on energy , and too eager to be quirky at moments when a little old-fashioned storytelling would come in handy .


those prone to indignation need not apply


his promise remains undiminished


terrific documentaries


, fitfully amusing , but ultimately so weightless that a decent draft in the auditorium might blow it off the screen .


the movie is ingenious fun .


's a movie about it


issue a moratorium , effective immediately , on treacly films about inspirational prep-school professors and the children they so heartwarmingly motivate .


a surprisingly anemic disappointment


for the still-inestimable contribution they have made to our shared history


a low-budget hybrid of scarface or carlito 's way


something creepy and vague


with laptops , cell phones and sketchy business plans


imax cinema


acting that heralds something special


for a film about action , ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .


imagine susan sontag falling in love with howard stern .


flashy gadgets and whirling fight sequences may look cool , but they ca n't distract from the flawed support structure holding equilibrium up


do n't avert our eyes for a moment


searching for a quarter in a giant pile of elephant feces


, you 'd probably turn it off , convinced that you had already seen that movie .


, this nasty comedy pokes fun at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables -- without much success .


a choke leash around your neck so director nick cassavetes


yes , it 's as good as you remember .


coral reef adventure is a heavyweight film that fights a good fight on behalf of the world 's endangered reefs -- and


quitting offers piercing domestic drama with spikes of sly humor .


are capable of anteing up some movie star charisma when they need it to sell us on this twisted love story , but who can also negotiate the movie 's darker turns


a kilted jackson is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces .


enjoyably


, annoying , heavy-handed


this 20th anniversary edition of the film


a cutting hollywood satire


keen eye , sweet spirit and


that have preceded it


as simple self-reflection meditation


as a portrait of the artist as an endlessly inquisitive old man , however , it 's invaluable


blazingly alive and admirable


, the lady and the duke represents the filmmaker 's lifelong concern with formalist experimentation in cinematic art .


evoking memories of day of the jackal , the french connection , and heat


our sympathies


the book 's irreverent energy , and scotches most


, this film should not be missed .


is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .


a sharp , amusing study


thumbs up to paxton for not falling into the hollywood trap and making a vanity project with nothing new to offer .


interesting cinematic devices ( cool visual backmasking )


a muted freak-out


wants to break free of her old life


the thrill of the company 's astonishing growth


an old-fashioned drama of substance about a teacher 's slide down the slippery slope of dishonesty after an encounter with the rich and the powerful who have nothing but disdain for virtue .


, viscerally exciting , and dramatically moving , it 's the very definition of epic adventure .


with a smile on your face


i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed


like you 've actually spent time living in another community


to the flowering of the south korean cinema


goodness for this signpost


recalling sixties ' rockumentary milestones from lonely boy to


is ultimately rather silly and overwrought , making the ambiguous ending seem goofy rather than provocative


unique residences


, unholy hokum .


a glorious spectacle like those d.w. griffith made in the early days of silent film


comes off as a touching , transcendent love story .


that 's neither completely enlightening


most jaded cinema audiences


to sleep or bewildered by the artsy and often pointless visuals


catch it ... if you can !


cared much about any aspect of it , from its cheesy screenplay


certain sexiness


a lively and engaging examination


silly but strangely believable


his maudlin ending might not have gotten him into film school in the first place


lasting traces of charlotte 's web


not smart and


high-profile


to the gallic ` tradition of quality


the little nuances


the result , however well-intentioned ,


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films --


this schlocky horror/action hybrid


utter authority


a solid , unassuming drama


seeing as the film lacks momentum and its position remains mostly undeterminable


a charge of genuine excitement


witty , contemplative , and sublimely beautiful .


in a movie that works against itself


her film


a blown-out vein


the new insomnia is a surprisingly faithful remake of its chilly predecessor , and


is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action


for kids ( of all ages ) that like adventure


oftentimes funny , yet ultimately cowardly autocritique


from the dull , surreal ache of mortal awareness emerges a radiant character portrait .


with her actors


much of what we see is horrible but it 's also undeniably exceedingly clever


's stupid


funny and poignant


a tribute to the actress , and to her inventive director


insufferably


warm and


it 's a film with an idea buried somewhere inside its fabric , but never clearly seen or felt .


disney scrape


star trek was kind of terrific once , but now it is a copy of a copy of a copy .


well-timed


immensely ambitious ,


indulgence


transformed the rhetoric of hollywood melodrama


the beach


the more serious-minded concerns of other year-end movies


another useless recycling of a brutal mid - '70s american sports movie .


a moving essay about the specter of death , especially suicide


dumbed-down


is that for the most part , the film is deadly dull .


, well-crafted family film


stopped thinking about how good it all was , and started doing nothing but reacting to it - feeling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visual delights .


a movie i loved on first sight and , even more important , love in remembrance .


should see it as soon as possible


add beyond the dark visions already relayed by superb


imbued with passion and attitude .


brought down by lousy direction


forget about one oscar nomination for julianne moore this year -


a stunning , taxi driver-esque portrayal


that deserves recommendation


fatal ailments


a depraved , incoherent , instantly disposable piece of hackery .


a joyous communal festival


opera-ish story


's not very interesting .


encourage


with a curiously stylized , quasi-shakespearean portrait of pure misogynist evil


a lyrical metaphor for cultural and personal self-discovery and a picaresque view


faithful to melville 's plotline


the best performance


it may not be a great piece of filmmaking , but its power comes from its soul 's - eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case .


, wan na watch a movie in which a guy dressed as a children 's party clown gets violently gang-raped ?


surrealist flourishes


to intolerable levels


, broomfield has compelling new material but he does n't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .


report card : does n't live up to the exalted tagline


talented cast


typical pax


is a waste of de niro , mcdormand and the other good actors in the cast


's not a single jump-in-your-seat moment


this wretchedly unfunny wannabe comedy is inane and awful


mesmerize


just another combination of bad animation and mindless violence ... lacking the slightest bit of wit or charm .


a film that are still looking for a common through-line


a gorgeously strange movie


were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn .


's a fine , old-fashioned-movie movie , which is to say it 's unburdened by pretensions to great artistic significance .


's all bluster -- in the end it 's as sweet as greenfingers


very compelling , sensitive , intelligent


off the hook


a really good premise is frittered away in middle-of-the-road blandness .


, then you 're at the right film .


gently tedious in its comedy


but it works under the direction of kevin reynolds .


creates images even more haunting than those in mr. spielberg 's 1993 classic .


is a pretty good job ,


judd 's characters ought to pick up the durable best seller smart women , foolish choices for advice .


invitingly upbeat


the ingenious construction ( adapted by david hare from michael cunningham 's novel ) constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism


carrying more emotional baggage than batman


a macabre and very stylized swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters .


features what is surely the funniest and most accurate depiction of writer 's block ever .


a grittily beautiful film that looks


dysfunctional parent-child relationship


flimsy ending


to a satisfying destination


except for the fine star performances


a disquieting and thought-provoking film


however , having sucked dry the undead action flick formula , blade ii mutates into a gross-out monster movie with effects that are more silly than scary .


authentic to the core of his being


is that its dying , in this shower of black-and-white psychedelia , is quite beautiful .


seems so real because it does not attempt to filter out the complexity


viewers not amused by the sick sense of humor


jolie 's hideous yellow ` do


visually engrossing


the top japanese animations


by lousy direction


hip comedy


but unmemorable


scare while we delight in the images


with its own solemn insights


grows monotonous


is nothing in it to engage children emotionally


film buzz and whir


indie tatters and self-conscious seams


incurably


disney


has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .


manages to be even worse than its title


bouquet gives a performance that is masterly .


such high-profile talent


oliver stone 's conspiracy thriller jfk was long , intricate , star-studded and visually flashy


campanella 's competent direction and his excellent cast


often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story


erotic


the stunt work is top-notch ;


of its critical backlash and more


undemanding armchair tourists


how this gets us in trouble


that grand a failure


the worst sin


is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself


its body humor and reinforcement


complex , politically charged tapestry


from the fact that the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea


realize your mind is being blown .


a few hours after you 've seen it , you forget you 've been to the movies .


suffocating and sometimes almost senseless


the excellent performances


allows his cast the benefit of being able to give full performances


will be an enjoyable choice for younger kids


the sentimental script has problems


any age


why i have given it a one-star rating


for something as splendid-looking as this particular film , the viewer expects something special but instead gets ( sci-fi ) rehash .


that he has been able to share his story so compellingly with us is a minor miracle


ca n't deny its seriousness and quality


pseudo-philosophic


classified as a movie-industry satire


it ` perfection


a sweet


a visual delight and a decent popcorn adventure


can practically hear george orwell turning over .


does n't so much phone in his performance as


knows everything and answers all questions , is visually smart , cleverly written ,


of black indomitability


undercuts the joie de vivre even as he creates


into the structure of relationships


smart movie


award-winning


is heartfelt and achingly real .


eerily accurate depiction


scott delivers a terrific performance in this fascinating portrait of a modern lothario .


look as fully ` rendered ' as pixar 's industry standard


demanding


pokémon 4ever


its moment


to say the least , not to mention inappropriate and wildly undeserved


suffering from a severe case of hollywood-itis


first-rate cast


gently political


remembrance


enjoy the movie


figure the power-lunchers do n't care to understand


is one of two things : unadulterated thrills or genuine laughs


that jackie chan is getting older


makes you crave chris smith 's next movie .


the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and


fill the hot chick , the latest gimmick from this unimaginative comedian .


an unbelievably stupid film , though occasionally fun enough to make you forget its absurdity .


husband-and-wife disaster


nurtures the multi-layers of its characters


admittedly problematic in its narrative specifics


seems suited neither to kids or adults


old-world charm


torn apart by a legacy of abuse


so not-at-all-good


rank as three of the most multilayered and sympathetic female characters of the year .


worst -- and only -- killer website movie


passions , obsessions , and


fits into a classic genre ,


a rather brilliant little cult item : a pastiche of children 's entertainment , superhero comics , and japanese animation .


, brooding and slow


as well its delightful cast --


consistently funny , in an irresistible junior-high way , and


engrossing and infectiously enthusiastic documentary


the right thing


is another liability


that , by the end , no one in the audience or the film seems to really care


by half-baked setups and sluggish pacing


a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer


heartbreaking subject matter , but one whose lessons are well worth revisiting as many times as possible


seem odd bedfellows


purely abstract


thanks to the château 's balance of whimsicality , narrative discipline and serious improvisation , almost every relationship and personality in the film yields surprises .


a fragmented film


playing a role of almost bergmanesque intensity ... bisset is both convincing and radiant


a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category :


characterizes better hip-hop clips and is content to recycle images and characters that were already tired 10 years ago


often surprises you with unexpected comedy


proves she has the stuff to stand tall with pryor , carlin and murphy


this would have been better than the fiction it has concocted , and there still could have been room for the war scenes .


juicy writer


right film


, it sounds like a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy .