that appeals to the storytelling instincts of a slightly more literate filmgoing audience


liberating


this a moving experience for people who have n't read the book


byler reveals the ways in which a sultry evening or a beer-fueled afternoon in the sun can inspire even the most retiring heart to venture forth .


on tension , eloquence , spiritual challenge -- things that have made the original new testament stories so compelling for 20 centuries


characterizations to be mildly amusing


great fun both for sports aficionados and for ordinary louts whose idea of exercise is climbing the steps of a stadium-seat megaplex


is imposter makes a better short story than it does a film


one feels the dimming of a certain ambition , but in its place a sweetness , clarity and emotional openness that recalls the classics of early italian neorealism .


grandiosity


is a real charmer


time waster '


seen in that light , moonlight mile should strike a nerve in many .


showing off


and surehanded direction


that it ranks with the best of herzog 's works


a delightful , witty , improbable romantic comedy


very capable


one decent performance from the cast and


because the plot is equally hackneyed


it can do even more damage


's the worst movie i 've seen this summer


visual treat


a coherent whole


for true fans


is put in an impossible spot because his character 's deceptions ultimately undo him and the believability of the entire scenario


makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important


is gone , replaced by the forced funniness found in the dullest kiddie flicks .


their contrast is neither dramatic nor comic --


a suspenseful horror movie


` hip '


with passion and energy


gay porn film


sameness


informative ,


thrown every suspenseful cliché in the book at this nonsensical story


vaguely silly overkill


comedy death


mattei 's underdeveloped effort 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 .


ultimate scorsese film


eroti-comedy


a good documentary can make interesting a subject you thought would leave you cold .


beyond being a sandra bullock vehicle or a standard romantic comedy


harsh reality


the movie has a cinematic fluidity and sense of intelligence that makes it work more than it probably should .


quieter domestic scenes


it 's 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 .


seems to have in mind an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested .


a class by itself


its generic villains lack any intrigue ( other than their funny accents )


bad sign


sandra bullock and hugh grant make a great team , but this predictable romantic comedy should get a pink slip .


packed with moments out of an alice


holds you in rapt attention from


writer/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable .


by a talented director


felt with a sardonic jolt


funny for grown-ups as for rugrats


emotionally accessible , almost mystical work


like being stuck in a dark pit having a nightmare about bad cinema


so intimate and


mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .


a love story and


the only one laughing at his own joke


could use a little more humanity , but it never lacks in eye-popping visuals .


a warm , fuzzy feeling


is hilarious


a sun-drenched masterpiece , part parlor game , part psychological case study ,


the problem with antwone fisher


, nickelodeon-esque kiddie flick


the image that really tells the tale


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


stuffed to the brim with ideas


terrific computer graphics


introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter


crack you up


fresh good looks and an ease in front of the camera


squanders as much as it gives out


butterflies that die


star-making


the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries


i 'm not a fan of the phrase ` life affirming ' because it usually means ` schmaltzy , ' but real women have curves truly is life affirming


j.k. rowling 's marvelous series


... belinsky is still able to create an engaging story that keeps you guessing at almost every turn .


of a mishmash


goofy , heartfelt , mesmerizing king lear


the redeeming feature of chan 's films has always been the action , but the stunts in the tuxedo seem tired and , what 's worse , routine .


creates a portrait of two strong men in conflict , inextricably entwined through family history ,


scarily funny


a true study ,


miyazaki 's nonstop images are so stunning ,


a useless movie


the tone for a summer of good stuff


confusion and pain


movies like high crimes flog the dead horse of surprise as if it were an obligation .


guilt-free trip


starts off witty and sophisticated and you want to love it --


to a new , self-deprecating level


are simply too bland to be interesting .


, the experience of actually watching the movie is less compelling than the circumstances of its making .


has an eye for the ways people of different ethnicities talk to and about others outside the group .


a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling .


revealed before about the source of his spiritual survival


as rude and profane as ever , always hilarious and , most of the time , absolutely


of academic skullduggery and politics


supposedly , pokemon ca n't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over .


predictably conventional


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


ca n't really be called animation


mild disturbance or detached pleasure


without oppressive


you ca n't miss it .


with the cliché-laden screenplay


'll love it and probably want to see it twice .


well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop


sensual ,


murphy do the genial-rogue shtick to death ,


a compelling dramatic means of addressing a complex situation


with the fast , funny , and even touching story


silly and tedious


that is n't this painfully forced , false and fabricated


done excellent work here


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


looks as if it belongs on the big screen


a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own


the compassion , good-natured humor


of a mixed bag , with enough negatives


stupid americans


, it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .


material this rich it does n't need it


thoughtful what-if


, you 've got to admire ... the intensity with which he 's willing to express his convictions


adults , other than the parents ...


the earnestness of its execution and skill of its cast take you down a familiar road with a few twists


around a core of flimsy -- or , worse yet , nonexistent -- ideas


around this movie directionless


you come away thinking not only that kate is n't very bright , but that she has n't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another .


solid storytelling .


by weaving a theme throughout this funny film


is one of those all-star reunions


franco is an excellent choice for the walled-off but combustible hustler , but


's something vital about the movie .


not into high-tech splatterfests


an accuracy


given passionate , if somewhat flawed , treatment


but once the falcon arrives in the skies above manhattan , the adventure is on red alert .


elizabeth hurley 's


makes good b movies ( the mask , the blob )


ride the big metaphorical wave that is life -- wherever it takes you


an ambitious movie that , like shiner 's organizing of the big fight , pulls off enough of its effects to make up for the ones that do n't come off


eloquent , reflective and beautifully


surprisingly gentle


good intentions


a bittersweet drama


a mesmerizing performance


it can still make you feel that you never want to see another car chase , explosion or gunfight again


with an appropriate minimum of means


it magic


the film is well-crafted


mr. scorsese 's bravery and integrity in advancing this vision


done excellent work


runs out of steam after a half hour .


sometimes almost senseless


educates viewers


choke


thoughtful


to satisfy the boom-bam crowd without a huge sacrifice of character and mood


of john c. walsh 's pipe dream


something a little more special behind it : music that did n't sell many records but helped change a nation


is utterly fearless as the tortured husband


that already-shallow


hip , contemporary , in-jokey one


of belly laughs ( including a knockout of a closing line )


barely register


is delivered with such conviction that it 's hard not to be carried away


sturdiest example yet


deeply meditative


have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense .


soon proves preposterous , the acting is robotically italicized ,


estela bravo 's documentary is cloyingly hagiographic in its portrait of cuban leader fidel castro


a ` girls gone wild ' video


's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor


hilarious kenneth branagh


madonna 's cameo does n't suck !


tells a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke


a love story as sanguine


beating the austin powers films


the determination of pinochet 's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman 's camera , pack a powerful emotional wallop


tiresome love triangles


it has that rare quality of being able to creep the living hell out of you ...


told with sharp ears and eyes


indeed almost never , is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite , unfakable sense of cinema .


gesturing


continues her exploration of the outer limits of raunch with considerable brio .


it 's not helpful to listen to extremist name-calling , regardless of whether you think kissinger was a calculating fiend or just a slippery self-promoter .


a story worth caring about


uncomfortable


something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us


captures , in luminous interviews and amazingly evocative film from three decades ago ,


be as bored


( davis ) wants to cause his audience an epiphany


biographical fantasia


because of its epic scope


that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep


not to mention inappropriate and wildly undeserved


look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful


such a great one


, you 're definitely convinced that these women are spectacular .


and not in a good way


a side dish no one ordered


with its subject matter in a tasteful , intelligent manner


is to be cherished


structured and well-realized


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


about female friendship that men can embrace and women


a quietly introspective portrait of the self-esteem of employment and the shame of losing a job


certainly hard to hate


'll feel as the credits roll


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


gorgeous and finely detailed


zings along with vibrance and warmth


playfully profound


, you might be wishing for a watch that makes time go faster rather than the other way around .


, this sad , occasionally horrifying but often inspiring film is among wiseman 's warmest .


as exciting to watch as two last-place basketball


the distance


inhabit their world without cleaving to a narrative arc


without intent


an action/thriller of the finest kind , evoking memories of day of the jackal , the french connection , and heat .


forced drama in this wildly uneven movie


sharp edges and a deep vein of sadness run through its otherwise comic narrative .


we can enjoy as mild escapism


irreparable


detention


is a no-surprise series of explosions and violence while banderas looks like he 's not trying to laugh at how bad


even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .


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


leaves something to be desired


b-movie scum


honest


most generic


that is , more often then not , difficult and sad


generous and


is so bad it does n't improve upon the experience of staring at a blank screen .


's coherent , well shot , and


camera movements


absurd plot twists ,


waters


schaefer 's ... determination to inject farcical raunch ... drowns out the promise of the romantic angle .


this stuck pig of a movie


otherwise comic


( while the last metro ) was more melodramatic , confined to a single theater company and its strategies and deceptions , while tavernier is more concerned with the entire period of history .


rejected x-files episode


it can be a bit repetitive


it suffers from the awkwardness that results from adhering to the messiness of true stories .


looks as if it were made by a highly gifted 12-year-old instead of a grown man


that you can not believe anyone more central to the creation of bugsy than the caterer


as darkly funny , energetic , and surprisingly gentle


is to frighten and disturb


especially when i have to put up with 146 minutes of it


left a few crucial things out ,


sirk


may well be the only one laughing at his own joke


littered with celluloid garbage


covers huge , heavy topics in a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people .


flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters ,


which may not be cutting-edge indie filmmaking


the dialogue sounds like horrible poetry .


a delightful little film that revels in its own simplicity , mostly martha will leave you with a smile on your face and a grumble in your stomach .


of interest


a formula comedy


, giggly little story


lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .


a children 's film in the truest sense


the merits of fighting hard for something that really matters


rotting


this remake of lina wertmuller 's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john


glizty


's as good as you remember


is to see two academy award winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that 's tv sitcom material at best


dreary


you ca n't wait to see end .


the story itself is actually quite vapid .


brazen enough to attempt to pass this stinker off as a scary movie


an irresistibly uncanny ambience


your own mystery science theatre 3000 tribute


successful at lodging itself in the brain


until you feel fully embraced by this gentle comedy


reveals how important our special talents can be when put in service of of others


much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché .


like its parade of predecessors , this halloween is a gory slash-fest .


bisset is both convincing and radiant


an enormously entertaining movie , like nothing we 've ever seen before , and yet completely familiar .


everybody else is in the background


nothing but boilerplate clichés


enter


some of the characters die and others do n't , and the film pretends that those living have learned some sort of lesson , and , really , nobody in the viewing audience cares .


breathes life


stylish psychological thriller


starts as a tart little lemon drop of a movie and


moved to the edge of their seats


is hard to conceive anyone else in their roles


high production values


particularly nightmarish


and utterly pointless


quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar


gifted artists


forces them into bizarre , implausible behavior


sacrificing the integrity of the opera


ultimately very satisfying


about this latest reincarnation of the world 's greatest teacher


of sharp writing


a welcome , if downbeat , missive from a forgotten front


mixed messages , over-blown drama and bruce willis


is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight


the soullessness


blessed with a searing lead performance by ryan gosling ( murder by numbers )


real stars


the film becomes an overwhelming pleasure , and you find yourself rooting for gai 's character to avoid the fate that has befallen every other carmen before her .


carry the film on his admittedly broad shoulders


as obvious as telling a country skunk


schaeffer 's film never settles into the light-footed enchantment the material needs , and the characters ' quirks and foibles never jell into charm


have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination


gets under the skin of a man we only know as an evil , monstrous lunatic


, i suspect , would have a hard time sitting through this one .


stimulating and demanding


bright and


a good surprise ending


a strong first act


it 's unburdened by pretensions to great artistic significance


and it 's what makes their project so interesting


one oscar nomination


but they lack their idol 's energy and passion for detail .


the atmosphere of the crime expertly


most poorly staged and


and unrelentingly exploitative


director jay russell stomps in hobnail boots over natalie babbitt 's gentle , endearing 1975 children 's novel .


the enjoyable undercover brother , a zany mix of saturday night live-style parody , '70s blaxploitation films and goofball action comedy gone wild


there 's not a single jump-in-your-seat moment and believe it or not , jason actually takes a backseat in his own film to special effects .


nicely


like a book report


slog


so intimate and sensual and funny


significantly different ( and better )


shrill , simple and soapy .


real star


dead


an impressive achievement in spite of a river of sadness that pours into every frame


, discontent , and yearning


has all the enjoyable randomness of a very lively dream and so


a catalyst for the struggle of black manhood in restrictive and chaotic america ...


small gem


despite the mild hallucinogenic buzz


... gives his best screen performance with an oddly winning portrayal of one of life 's ultimate losers .


an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay


many conclusive answers in the film


comes across as lame and sophomoric in this debut indie feature .


it 's stylishly directed with verve ...


is just too bad the film 's story does not live up to its style .


a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for --


have not been this disappointed by a movie in a long time .


you may feel compelled to watch the film twice or pick up a book on the subject .


sustain interest


auto focus feels so distant you might as well be watching it through a telescope .


the movie itself is far from disappointing , offering an original take on courtroom movies , a few nifty twists that are so crucial to the genre and another first-rate performance by top-billed star bruce willis .


is a movie that understands characters must come first


a series of immaculately composed shots of patch adams quietly freaking out does not make for much of a movie .


hugely enjoyable in its own right though not really faithful to


creepiest conventions


derivative elements into something that is often quite rich and exciting


it does n't work .


a family of five blind , crippled , amish people alive in this situation


both sides of this emotional car-wreck


is emerging in world cinema


while it may not add up to the sum of its parts


for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .


stupid and


to the point of nausea


should stick to his day job


not that funny


as a retooling of fahrenheit 451 , and even as a rip-off of the matrix


, well ,


diva


represents an engaging and intimate first feature


delicately crafted film


an uplifting , near-masterpiece


mordantly funny


a well-crafted film


anything ever , and easily the most watchable film of the year


whip-smart


seems to have been ` it 's just a kids ' flick .


characteristically engorged and sloppy


jerking off in all its byzantine incarnations to bother pleasuring its audience


raunch


for the most part , the film does hold up pretty well .


the finished product 's unshapely look


to sustain a good simmer for most of its running time


entertains


cruelly funny


chore


lobotomy


the dream world of teen life


this mistaken-identity picture is so film-culture referential that the final product is a ghost .


the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama ,


truly excellent sequences


it 's so successful at lodging itself in the brain


a bad day


without any redeeming value whatsoever


of describing badness


there 's none of the happily-ever - after spangle of monsoon wedding in late marriage -- and that 's part of what makes dover kosashvili 's outstanding feature debut so potent


funniness


in your heart


letting you share her one-room world for a while


deliciously mean-spirited and wryly observant .


` they do n't make movies like they used to anymore


it 's usually a bad sign when directors abandon their scripts and go where the moment takes them


exercise in formula crash-and-bash action


otherwise appalling , and downright creepy ,


toilet


, sorvino glides gracefully from male persona to female without missing a beat .


standard thriller and drag audience enthusiasm to crush depth


a bit exploitative but also nicely done , morally alert


tendentious


to be cherished


despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema


second , what 's with all the shooting ?


unimpeachable


stitched together from stock situations and characters


's a reason why halftime is only fifteen minutes long .


may be burns 's strongest film since the brothers mcmullen


perfect performance


a james bond series for kids


's got as potent a topic as ever here


would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes


satisfyingly


that it does afford


the only way to tolerate this insipid , brutally clueless film


turbulent self-discovery


trotting out threadbare standbys


does so with an artistry that also smacks of revelation


lost some of the dramatic conviction that underlies the best of comedies


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


but also intriguing and honorable ,


really need a remake of `` charade


in laramie following the murder of matthew shepard


's much to recommend the film


rashomon-for-dipsticks tale .


as inept


unassuming , subordinate


a lovely film ... elegant , witty and beneath a prim exterior unabashedly romantic ... hugely enjoyable in its own right though not really faithful to its source 's complexity .


an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us


hossein


beautifully shot


is wonderful


sentimental ooze


primitive animated special effects


no explanation or even


an irresistible blend of warmth and humor


as the mediterranean sparkles


with its leaden acting , dull exposition and telegraphed ` surprises


truly wonderful


strong-minded


into some univac-like script machine


cold


is a strength of a documentary to disregard available bias , especially


feel good


an effective portrait of a life in stasis --


only pain


somber earnestness in the new adaptation of the cherry orchard


after a while , hoffman 's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses -- become annoying and artificial .


insulting


a temporal inquiry


how tedious


a zombie movie in every sense of the word -- mindless , lifeless , meandering , loud , painful , obnoxious .


sufficient


adrenaline boost


is so different from the apple and so striking that it can only encourage us to see samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success


of happy


the great minds of our times


mr. polanski is in his element here : alone , abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival .


gives a superb performance


deny its seriousness and quality


cold-hearted curmudgeon


feels so distant you might as well be watching it through a telescope


: land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place .


heartwarming


the pain , loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze .


like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .


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


watching these eccentrics is both inspiring and pure joy .


a particularly nightmarish fairytale


something more beautiful than either of those films


taken outside the context of the current political climate ( see : terrorists are more evil than ever ! )


moving and stark reminder


do n't really care too much about this love story .


comedy and melodrama


by turns touching , raucously amusing , uncomfortable , and , yes , even sexy


its courage , ideas , technical proficiency and great acting


miscalculates badly


is notable for its stylistic austerity and forcefulness


numbing experience


he respects the material without sentimentalizing it


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


of no erotic or sensuous charge


throwing out so many red herrings , so many false scares ,


of shape


is about quiet , decisive moments between members of the cultural elite as they determine how to proceed as the world implodes


many flaws


a superfluous sequel ... plagued by that old familiar feeling of ` let 's get this thing over with ' :


young romantics


is a festival film that would have been better off staying on the festival circuit


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


by a set of heartfelt performances


insurance


striking villains


does n't offer audiences any way of gripping what its point is , or even its attitude toward its subject .


much of the lady and the duke is about quiet , decisive moments between members of the cultural elite as they determine how to proceed as the world implodes .


better


it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .


, you 're in luck .


full of cheesy dialogue


can usually be traced back to the little things


as clever


if you like an extreme action-packed film with a hint of humor


between deadpan comedy and heartbreaking


the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .


it 's an exhilarating place to visit , this laboratory of laughter .


is sickly entertainment at best and mind-destroying cinematic pollution at worst .


an almost constant mindset of suspense


are so old-fashioned


of admission for the ridicule factor


skillfully


flaws , but also


that examines many different ideas from happiness to guilt in an intriguing bit of storytelling


one of those films that started with a great premise and then just fell apart .


there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows .


the secret 's eventual discovery


easier to sit through than most of jaglom 's self-conscious and gratingly irritating films


gives itself the freedom to feel contradictory things .


holds promise ,


comes along to remind us of how very bad a motion picture can truly be .


unwieldy cast


the horror fan


ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour


is the kind of subject matter that could so easily have been fumbled by a lesser filmmaker


a hit - and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .


to reduce everything he touches to a shrill , didactic cartoon


is the gabbiest giant-screen movie ever , bogging down in a barrage of hype


career-defining revelation


with bracing intelligence and a vision both painterly and literary


a british cast


the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor 's club any time


just so the documentary will be over


enjoyable choice


required genuine acting from ms. spears


knows how to make our imagination wonder .


cold , sterile and lacking


coupling disgracefully written dialogue with flailing bodily movements that substitute for acting , circuit is the awkwardly paced soap opera-ish story .


congrats disney on a job well done


take you places you have n't been , and also places you have


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


the film above anything sandler


proving once again ego does n't always go hand in hand with talent


pale imitation


( russell ) makes good b movies ( the mask , the blob ) , and the scorpion king more than ably meets those standards .


cheapening it


it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


there must be an audience that enjoys the friday series , but i would n't be interested in knowing any of them personally .


a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome


a bittersweet drama about the limbo of grief and how truth-telling


uniquely sensual


when the screenwriter responsible for one of the worst movies of one year directs an equally miserable film the following year , you 'd have a hard time believing it was just coincidence .


of all those famous moments


the rollicking dark humor so necessary


does n't offer much in terms of plot or acting .


the characters are paper thin and


slapping its target audience in the face


nail the spirit-crushing ennui of denuded urban living without giving in to it


clever ideas and


we 've seen the hippie-turned-yuppie plot before , but there 's an enthusiastic charm in fire that makes the formula fresh again


gripping drama .


a man whose engaging manner and flamboyant style made him a truly larger-than-life character


an audience full of teenagers fixating on its body humor and reinforcement of stereotypes


, you 'll cheer .


a stylish exercise in revisionism whose point


a cheap thriller


a sensitive , moving


penned by a man who has little clue about either the nature of women or of friendship .


the logic


worth catching


's not like having a real film of nijinsky


an oddly winning portrayal of one


just as expectant of an adoring , wide-smiling reception


a stale , overused cocktail


who might enjoy this


romance , tragedy and even silent-movie comedy


his wife look so bad in a major movie


that pollyana would reach for a barf bag


with their fathers


a huge disappointment coming ,


ruined by amateurish writing and acting


there 's apparently nothing left to work with , sort of like michael jackson 's nose .


an insane comic undertaking


about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it


one-sided documentary offers simplistic explanations to a very complex situation .


fast and funny


unadulterated thrills or genuine laughs


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 .


the surprisingly shoddy makeup work


this arrogant richard pryor wannabe


one of the worst films of the summer


it 's not just a feel-good movie , it 's a feel movie .


is masterful


has little wit and no surprises .


sublimely lofty


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


( and educational )


20 years apart


rates as an exceptional thriller .


`` frailty '' starts out like a typical bible killer story , but it turns out to be significantly different ( and better ) than most films with this theme .


and it is n't that funny .


it 'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies


( a ) soulless


, i 'd want something a bit more complex than we were soldiers to be remembered by .


offers much to absorb and even more to think about after the final frame


is that it jams too many prefabricated story elements into the running time .


that clever angle


a fascinating profile of a deeply humanistic artist who , in spite of all that he 's witnessed , remains surprisingly idealistic


star


an affectionate


for its logical loopholes , which fly by so fast there 's no time to think about them anyway


you do n't want to think too much about what 's going on


nothing in it to engage children emotionally


than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises


, so it 's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast .


is nicely shot , well-edited


discovery and humor between chaplin and kidman


fret


fashion a brazil-like , hyper-real satire


as decent drama/action flick


with impressive results


takes a fresh and absorbing look at a figure whose legacy had begun to bronze .


as naturally charming as it needs to be


is dazzling


ultimate


touches to a shrill , didactic cartoon


simultaneously heart-breaking and very funny


piano


have a whale of a good time .


quickly wears out its limited welcome


rushed , slapdash , sequel-for-the-sake - of-a-sequel


these self-styled athletes have banged their brains into the ground so frequently


mixed-up films


that feels as though it 's trying to set the women 's liberation movement back 20 years


implicitly


exciting and well-paced .


is also elevated by it -- the kind of movie that you enjoy more because you 're one of the lucky few who sought it out .


quietly moving


succeeds in entertaining


my eyelids ... getting


you 've spent the past 20 minutes looking at your watch


a straight-shooting family film which awards animals the respect they


rejected


is painterly


's a very tasteful rock and roll movie


squirming in their seats


well done


on its own , it 's not very interesting .


is a horrible movie --


i could not stand them


ver wiel 's


the ` ick '


serves as a paper skeleton for some very good acting , dialogue ,


leaves you giddy


talent


in a big corner office in hell , satan is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24/7 .


about tattoos


there is nothing in it to engage children emotionally


care what kind of sewage they shovel into their mental gullets to simulate sustenance


in 1958 brooklyn


of the most depressing movie-going experiences i can think of


the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists --


a consummate actor


bad mannered , ugly and destructive little ****


's superficial and unrealized


intimate and socially encompassing


banged their brains


are immaculate , with roussillon providing comic relief


giggling at the absurdities and inconsistencies is part of the fun .


to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up


of surprises


, dramatically satisfying heroine


ghetto


the gags are puerile .


a film that begins as a seven rip-off , only to switch to a mix of the shining , the thing , and any naked teenagers horror flick from the 1980s


delight


master of disguise runs for only 71 minutes and feels like three hours .


hopkins/rock collision


this is n't worth sitting through


why human beings long for what they do n't have


strangely impersonal and abstract


a video helmer


happens that tells you there is no sense


might not seem like the proper cup of tea


the movie is certainly easy to watch .


try to surprise us with plot twists


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


skip


crudup 's anchoring performance


a rehash


to a biting satire that has no teeth


comes out looking like something wholly original


unremittingly ugly


beautifully crafted


enjoys


every turn of elizabeth berkley 's flopping dolphin-gasm


that could so easily have been fumbled by a lesser filmmaker


decidedly unoriginal


the words `` radical '' or `` suck ''


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


a little more intensity and a little less charm would have saved this film a world of hurt .


's mostly a pleasure to watch .


his greatest triumph


how much they engage and even touch us


this strenuously unconventional movie


the exotic surface ( and exotic dancing )


a frustrating ` tweener '


as important as humor


enthrall


, 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 .


very very strong `` b +


dramatized


the year 's greatest adventure , and jackson 's limited but enthusiastic adaptation has made literature literal without killing its soul -- a feat any thinking person is bound to appreciate


under the skin of her characters


fresh view


the movie bogs down in insignificance , saying nothing about kennedy 's assassination and revealing nothing about the pathology it pretends to investigate .


'll find yourself wishing that you and they were in another movie .


right ways


is competent


with no aspirations


operatic


tender hug


beautiful stars


unhappy at the prospect of the human race splitting in two


another shameless attempt


despite bearing the paramount imprint , it 's a bargain-basement european pickup .


over-blown


nicolas cage is n't the first actor to lead a group of talented friends astray , and


a muddled limp biscuit of a movie , a vampire soap opera that does n't make much


maudlin ending


be like trying to eat brussels sprouts


it is notable for its stylistic austerity and forcefulness


` ke burstein


well made


succeeds through sincerity


warmth and humor


failed jokes , twitchy acting ,


the most complex , generous and subversive artworks


an ungainly movie


sadistic bike flick


the milieu is wholly unconvincing ... and


a sleep-inducingly slow-paced crime drama with clumsy dialogue , heavy-handed phoney-feeling sentiment , and an overly-familiar set


built for controversy .


in a sick , twisted sort of way


great combination act


is duly impressive in imax dimensions ,


with cloying messages and irksome characters


pleasing way


all awkward


has become apparent that the franchise 's best years are long past .


skip the film and buy the philip glass soundtrack cd


star script


terrific casting and solid execution give all three stories life .


the film 's messages of tolerance and diversity are n't particularly original


's hard to believe these jokers are supposed to have pulled off four similar kidnappings before


, hard-hitting documentary .


pair that with really poor comedic writing ... and you 've got a huge mess .


ingenious and often


merely pretentious --


has a pleasing way with a metaphor .


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


ladles on the local flavor with a hugely enjoyable film about changing times , clashing cultures and the pleasures of a well-made pizza


a glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism .


delightful stimulus


which might have been called freddy gets molested by a dog )


humor wry


with a tone as variable as the cinematography


these women are spectacular


co-stars


to stand out as particularly memorable or even all that funny


intricate , intimate and intelligent journey


lets her character become a caricature -- not even with that radioactive hair


modest , straight-ahead standards


in modern alienation


a sense of childhood imagination


leave it to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama


tear-stained


falling


innocent and


with weak dialogue and biopic


her welcome in her most charmless performance


one terrific story with lots of laughs


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


looks like he 's not trying to laugh at how bad


more grueling and


that 's neither original nor terribly funny


transcends the boy-meets-girl posturing of typical love stories .


give a backbone to the company


the film is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables .


superior ''


a depraved , incoherent , instantly disposable piece


old-fashioned but emotionally stirring adventure tale


its rather slow beginning


serious and thoughtful .


is more engaging than the usual fantasies hollywood produces


but here 's a movie about it anyway .


a time machine , a journey back to your childhood ,


the difference between cho and most comics is that her confidence in her material is merited .


were made for the palm screen


the film has a laundry list of minor shortcomings , but


sits in the place where a masterpiece should be


enough vices to merit its 103-minute length


a really solid woody allen film


leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies


always looks good


preposterousness


although it starts off so bad that you feel like running out screaming , it eventually works its way up to merely bad rather than painfully awful .


out of character and logically porous action set


low-budget and tired


muddled drama


's left of his passe ' chopsocky glory


unusually tame


markedly inactive


that keeps you guessing at almost every turn


the possible exception of elizabeth hurley 's breasts


all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .


one of those unassuming films that sneaks up on you and stays with you long after you have left the theater .


this forgettable effort


to even categorize this as a smutty guilty pleasure


weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk .


about the plight of american indians in modern america


historically significant


wrong on both counts


noble failure .


overused


a bland animated sequel that


no sense of pride or shame


insultingly unbelievable final act


a visual spectacle full of stunning images and effects .


paint-by-numbers picture


of pure misogynist evil


the production is suitably elegant


that frenetic spectacle ( on the tv show )


huge action sequence


is never especially clever and often is rather pretentious


the hardy spirit


a chilling tale of one of the great crimes of 20th century france : the murder of two rich women by their servants in 1933 .


the emotion or timelessness of disney 's great past , or even that of more recent successes such as `` mulan '' or `` tarzan


the broiling sun


inherent in the mixture of bullock bubble and hugh goo


for drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable


, the answer is clear : not easily and , in the end , not well enough .


sloppy slapstick


he 's a charismatic charmer likely to seduce and conquer .


adventure story and history lesson


happens to be good


too full


comes to resemble the kind of soft-core twaddle you 'd expect to see on showtime 's ` red shoe diaries


well-crafted psychological study


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 .


virtually impossible


devolves into the derivative , leaning on badly-rendered cgi effects .


stalls in its lackluster gear of emotional blandness


be able to appreciate the wonderful cinematography and naturalistic acting


painfully forced ,


offers flickering reminders of the ties that bind us .


might turn on many people to opera , in general


exit sign


has the rare capability to soothe and break your heart with a single stroke


matter how much he runs around and acts like a doofus


does n't match his ambition


remain curious about each other against all odds


schticky chris rock and stolid anthony hopkins , who seem barely in the same movie


all the movie 's narrative gymnastics ca n't disguise the fact that it 's inauthentic at its core and that its story just is n't worth telling .


fest of self-congratulation between actor and director that leaves scant place for the viewer


in luck


soderbergh 's solaris is a gorgeous and deceptively minimalist cinematic tone poem .


the story is bogus


if it were n't such a clever adaptation of the bard 's tragic play


a deftly entertaining film


charlie hunnam has the twinkling eyes , repressed smile and determined face needed to carry out a dickensian hero .


such a lousy way , complete with some of the year 's ( unintentionally ) funniest moments , that it 's impossible to care


the most notable observation is how long you 've been sitting still


for kids or their parents


has plenty of laughs .


enjoyably over-the-top


... a delightfully unpredictable , hilarious comedy with wonderful performances that tug at your heart in ways that utterly transcend gender labels .


occasionally inspired dialogue bits


, the movie is a disaster .


remarkable and memorable


spiced with the intrigue of academic skullduggery and politics .


everyone , especially movie musical fans , has been hoping for


quiet , decisive moments between members of the cultural elite


is a nonstop hoot


a marvelous performance by allison lohman


pleasant enough -- and


's an ambitious film


goes downhill


returning to one anecdote for comparison : the cartoon in japan that gave people seizures


bright


a bad rock concert


, overmanipulative hollywood practices


it 's potentially just as rewarding


tragic deaths


that tells stories that work -- is charming , is moving


that fails on so many levels


audience-pleaser


a sappy , preachy one at that


this would be a worthy substitute for naughty children 's stockings


we 've seen it all before in one form or another


it goes off the rails in its final 10 or 15 minutes


the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all


what might have emerged as hilarious lunacy in the hands of woody allen or


influence


reverberates throughout this film , whose meaning and impact is sadly heightened by current world events


excellent latin actors of all ages


alas , getting there is not even half the interest .


have a freshness and modesty that transcends their predicament


its most glaring


might be wishing for a watch that makes time go faster rather than the other way around .


kinnear 's performance is a career-defining revelation .


are well worth revisiting as many times as possible


the only thing i laughed at were the people who paid to see it .


the merchant-ivory team continues to systematically destroy everything we hold dear about cinema , only now it 's begun to split up so that it can do even more damage .


would not likely be so stupid as to get


engaging enough to keep you from shifting in your chair too often


comprehend the chasm of knowledge that 's opened between them


's most thoughtful films about art , ethics , and the cost of moral compromise


( jeff 's ) gorgeous ,


that holds up well after two decades


a dark-as-pitch comedy that frequently veers into corny sentimentality , probably


with maggots crawling on a dead dog


the film rehashes several old themes and is capped with pointless extremes --


a powerful look


strip it of all its excess debris , and you 'd have a 90-minute , four-star movie .


classic text


a banal , virulently unpleasant excuse for a romantic comedy


female audience members drooling over michael idemoto as michael


just honest enough to provide the pleasures of a slightly naughty , just-above-average off - broadway play


so-called ` comedy '


has done his homework and


since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche .


reggio and glass put on an intoxicating show .


for following up a delightful , well-crafted family film with a computer-generated cold fish


i found the ring moderately absorbing , largely for its elegantly colorful look and sound .


a plot that 's just too boring and obvious


tortured husband


is its personable , amusing cast


, it finds a nice rhythm .


smart , not cloying


huppert and girardot give performances of exceptional honesty .


an earnest , roughshod document


imaginative filmmaking


the film 's hero is a bore and


cattaneo reworks the formula that made the full monty a smashing success ... but neglects to add the magic that made it all work .


maelstrom is strange and compelling , engrossing and different , a moral tale with a twisted sense of humor .


an acidic all-male all about eve


totally past his prime


the recording sessions are intriguing , and


dream of


should not be missed .


of sophisticated intrigue and human-scale characters


a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today


'll love it


a fairly harmless but ultimately lifeless feature-length afterschool special


said , except : film overboard !


cagney 's ` top of the world '


succumb to appearing in this junk that 's tv sitcom material at best


the knee-jerk misogyny


as some of the recent hollywood trip tripe


, and room noise


the poor acting


dehumanizing and ego-destroying


does n't mean you have to check your brain at the door


of good actors


of lurid melodrama


, honest , and enjoyable comedy-drama


nails hard


the characters ... are paper-thin , and their personalities undergo radical changes when it suits the script .


, prepackaged julia roberts wannabe


occasionally horrifying but often inspiring


hates its characters


to be a wacky , screwball comedy


genres that just does n't work


sick


a tired , talky feel


there is only so much baked cardboard i need to chew .


moving and vibrant .


should have stayed there


should come with the warning `` for serious film buffs only


more entertaining ,


chicken barely give a thought to the folks who prepare and deliver it


a positive impression


eccentricities that are attached to the concept of loss


is he has no character , loveable or otherwise .


a jaw-droppingly beautiful work


too little


tough pill to swallow


a clear-eyed chronicle


s1m0ne 's satire is not subtle


is fresh to say about growing up catholic or , really , anything


's affecting , amusing , sad and reflective .


returns to narrative filmmaking with a visually masterful work of quiet power .


the soulful gravity


lux , now in her eighties , does a great combination act as narrator , jewish grandmother and subject -- taking us through a film that is part biography , part entertainment and part history .


confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .


a dark , quirky road movie that constantly defies expectation


surprisingly decent flick


twohy 's a good yarn-spinner


rigid


lazy filmmaking , with the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling .


fresh , sometimes funny , and


sheridan seems terrified of the book 's irreverent energy , and scotches most of its élan , humor , bile , and irony .


this is a movie that refreshes the mind and spirit along with the body


that will strike a chord with anyone who 's ever


a real winner


head-turner


is just as boring and as obvious


to sustain interest for the full 90 minutes , especially with the weak payoff


it 's no lie -- big fat liar is a real charmer


a film really has to be exceptional to justify a three hour running time , and this is n't .


this exciting new filmmaker has brought to the screen


its hackneyed and meanspirited storyline with cardboard characters and performers


a timely look back at civil disobedience , anti-war movements and the power of strong voices .


wanting to abandon the theater


bring to imax


to recovering from its demented premise


littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed


daringly perceptive , taut , piercing and feisty , biggie and tupac is undeniably subversive and involving in its bold presentation .


director michael cacoyannis displays with somber earnestness in the new adaptation of the cherry orchard


`` wild ride ''


this fascinating portrait


emotionally distant piece


is rote drivel aimed at mom and dad 's wallet .


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


fresh-faced , big-hearted and frequently


film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly


empire '' lacks in depth


i can tell you that there 's no other reason why anyone should bother remembering it .


soft-porn 'em powerment


blue crush thrillingly uses modern technology to take the viewer inside the wave .


control-alt-delete simone as quickly as possible


neither the funniest film that eddie murphy nor robert de niro has ever made


to lift the spirits of the whole family


stiletto-stomps the life out


exactly wrong


, passion , and genius


you wrong on both counts


might as well be watching it through a telescope


rhapsodic


schlocky horror/action hybrid


right actors


the murder


delicately calibrated in tone


tiresome cliché


passive-aggressive


sophisticated performance


needs more impressionistic


dramatic punch


a first-rate cast


riveting memories


did n't smile


kidman has become one of our best actors


trite and overused


a lot more dimensional and complex than its sunny disposition


her performance moves between heartbreak and rebellion as she continually tries to accommodate to fit in and gain the unconditional love she seeks .


the characters are paper thin and the plot is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects


in which an ominous , pervasive , and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense


you 've endured a long workout without your pulse ever racing


to be a whole lot scarier than they are in this tepid genre offering


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


will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear


mostly leaves him shooting blanks


i do n't blame eddie murphy but should n't owen wilson know a movie must have a story and a script ?


graceful , moving


it 's not just a feel-good movie


belly laughs ( including a knockout of a closing line )


's a compelling and horrifying story


maudlin as any after-school special you can imagine


suffers from a paunchy midsection , several plodding action sequences and a wickedly undramatic central theme


like a tarantino movie with heart , alias betty is richly detailed , deftly executed and utterly absorbing .


highly uneven and inconsistent ...


live the mood


could watch this movie and be so skeeved out that they 'd need a shower


jacquot has filmed the opera exactly as the libretto directs , ideally capturing the opera 's drama and lyricism .


`` empire '' lacks in depth


creates an impeccable sense of place


of strung-together moments


genuinely enthusiastic


awe-inspiring visual poetry


a very talented but underutilized supporting cast


a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks


at hostile odds with one another


, all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .


are entitled to take a deep bow for fashioning an engrossing entertainment out of an almost sure-fire prescription for a critical and commercial disaster


captured


gushing -- imamura squirts the screen in ` warm water under a red bridge '


if you can push on through the slow spots , you 'll be rewarded with some fine acting .


of the flesh


is precious little of either .


rings false .


are paper-thin , and their personalities undergo radical changes when it suits the script .


lame and


sentimental journey


every faltering half-step of its development


fighting hard for something that really matters


be impressed by this tired retread


a touching , small-scale story of family responsibility and care in the community


early laughs


though there 's a clarity of purpose and even-handedness to the film 's direction , the drama feels rigged and sluggish .


calm and thoughtful


demented in a good way


witty ,


, `` they 're out there ! ''


war


despite the opulent lushness of every scene , the characters never seem to match the power of their surroundings .


comes to mind : so why is this so boring ?


nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives .


puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .


runs through a remarkable amount of material in the film 's short 90 minutes


of a copenhagen neighborhood coping with the befuddling complications life


long-suffering


so many talented people


inventive


whose portrait of a therapy-dependent flakeball


would know what to make of this italian freakshow .


politically audacious


makes dover kosashvili 's outstanding feature debut so potent


blemishes


the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string .


right into the center of that world


a lightweight , uneven action comedy that freely mingles french , japanese and hollywood cultures .


was immensely enjoyable thanks to great performances


a feel-good fantasy


those who are not acquainted with the author 's work , on the other hand , may fall fast asleep .


authenticate her british persona


becomes a sermon for most of its running time


you are watching them , and the slow parade of human frailty fascinates you


dips key moments


one well-timed explosion in a movie


distracted rhythms


may well be the year 's best and most unpredictable comedy .


finch 's tale provides the forgettable pleasures of a saturday matinee


no character


essentially juiceless


tired one


his cipherlike personality and bad behavior would play fine if the movie knew what to do with him


a fascinating curiosity piece -- fascinating , that is , for about ten minutes


in its chicken heart


mean things


the talented cast


is one of the year 's worst cinematic tragedies


it 's a work that , with humor , warmth , and intelligence , captures a life interestingly lived .


is entirely too straight-faced


striking character traits


the gifted korean american stand-up


good , achingly human


does hold up pretty well .


, like nothing we 've ever seen before , and yet completely familiar .


is a convincing one , and should give anyone with a conscience reason to pause .


mired in a shabby script


unblinkingly pure as


is credible and remarkably mature .


could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking .


completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .


believability


a touching , small-scale story of family responsibility and care in the community .


a little too much resonance with real world events


choppy , overlong documentary about ` the lifestyle . '


have been made by people to whom the idea of narrative logic or cohesion is an entirely foreign concept


few gut-busting laughs


sweet and modest


wanted to leave .


restrained and subtle


be intolerable company


about the best thing you could say about narc


excellent sequel .


a cultural wildcard experience


with a romantic comedy plotline straight from the ages , this cinderella story does n't have a single surprise up its sleeve .


, few films have been this odd , inexplicable and unpleasant .


confessions may not be a straightforward bio , nor does it offer much in the way of barris ' motivations , but the film is an oddly fascinating depiction of an architect of pop culture


bravado


scenery , vibe and all


get to the closing bout ... by which time it 's impossible to care who wins


offer audiences


that begins with the everyday lives of naval personnel in san diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times i


of clever ideas and visual gags


an underdone potato


, and beautifully shot


will you feel after an 88-minute rip-off of the rock with action confined to slo-mo gun firing and random glass-shattering ? ''


his latest feature , r xmas , marks a modest if encouraging return to form


a real howler


funny , sexy , devastating and incurably romantic .


well together


to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing


nothing to gain from watching they


to elevate it beyond its formula to the level of classic romantic comedy to which it aspires


document both sides of this emotional car-wreck


a man whose achievements -- and complexities -- reached far beyond the end zone


leigh is one of the rare directors who feels acting is the heart and soul of cinema .


even if the ring has a familiar ring , it 's still unusually crafty and intelligent for hollywood horror .


there 's no fizz


your favorite pet get buried alive


old-fashioned values


it 's endlessly inventive , consistently intelligent and sickeningly savage .


get you down


was trying to decide what annoyed me most about god is great


the ring never lets you off the hook .


overweight and out


looking for something new


shows off a lot of stamina and vitality , and


subzero


its story of actorly existential despair than for its boundary-hopping formal innovations and glimpse into another kind of chinese


absolutely refreshed


wo n't sit still for a sociology lesson


endure instead of enjoy


teen-sleaze


i had a dream that a smart comedy would come along to rescue me from a summer of teen-driven , toilet-humor codswallop


succeed in alienating most viewers


a smart , funny look at an arcane area of popular culture


a movie that , quite simply , should n't have been made .


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


everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .


as happy listening to movies


that 's the mark of a documentary that works


troubling and


disgusting


that it is n't very good


releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults , and snow dogs deserves every single one of them .


that just seem like a bad idea from frame one


have a good time with this one too


finds itself in reduced circumstances


to light


a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions


the ensemble cast


a severe case of oversimplification , superficiality and silliness


friday the 13th by way of clean and sober ,


is clever and funny , is amused by its special effects


's just that it 's so not-at-all-good


by an overly sillified plot and stop-and-start pacing


fit chan like a $ 99 bargain-basement special


with indoctrinated prejudice


well wrought


wanting more answers as the credits


funny little movie


the limited chemistry


has a brain


ultra-violent gangster wannabe


plumbs personal tragedy and also the human comedy .


watch the movie


it 's inauthentic at its core


bad writing


proves absolutely that really , really , really good things can come in enormous packages .


reflect


freshness


polanski is saying what he has long wanted to say , confronting the roots of his own preoccupations and obsessions


you swinging from the trees hooting it 's praises


laugh-free lecture


thrusts the audience into a future they wo n't much care about


meandering and pointless french coming-of-age import


of ` let 's get this thing over with


mind ugly


in a heartwarming , nonjudgmental kind of way


profundity


a straight-shooting family film which awards animals the respect they 've rarely been given .


i.e. , a banal spiritual quest


a neat trick


that bears more than a whiff of exploitation , despite iwai 's vaunted empathy


wears its empowerment on its sleeve


have made for better drama


wow factors


cheap


a thinking man 's monster movie


a moratorium , effective immediately ,


concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt


boasts dry humor and jarring shocks , plus moments of breathtaking mystery


it 's a smart , funny look at an arcane area of popular culture ,


thoroughly winning flight of revisionist fancy


that ultimately defeated the film ... it was the unfulfilling , incongruous , `` wait a second


bad romances


leigh makes these lives count .


his impressions of life and loss and


as good ,


is still top-heavy with blazing guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves that serve no other purpose than to call attention to themselves .


in a fairly irresistible package full of privileged moments and memorable performances


a feel-good movie can still show real heart


like one of ( spears ' ) music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .


until the film is well under way -- and yet it 's hard to stop watching


in his right mind


the sometimes murky , always brooding look of i


are so familiar you might as well be watching a rerun


appealingly


marvelous documentary touches -- ever so gracefully -- on the entire history of the yiddish theater , both in america and israel .


heartwarming scene the impressively discreet filmmakers may have expected to record with their mini dv


is forgettable


the trials of henry kissinger is a remarkable piece of filmmaking ... because you get it .


the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and the sparse instances of humor meant to shine through the gloomy film noir veil


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


uses a sensational , real-life 19th-century crime as a metaphor


originality in ` life '


if george romero had directed this movie , it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


look behind the curtain that separates comics from the people laughing in the crowd .


we a sick society


well-written


entertain


it 's almost impossible not to be swept away by the sheer beauty of his images .


this colorful bio-pic of a mexican icon


be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )


practically any like-themed film other than its oscar-sweeping franchise predecessor


the problem is that it is one that allows him to churn out one mediocre movie after another .


kicks into gear


begins as a seven rip-off , only to switch to a mix of the shining , the thing , and any naked teenagers horror flick from the 1980s


were as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned


not only of one man 's quest to be president , but of how that man single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department


danish cows


, but also intriguing and honorable ,


the script is a tired one , with few moments of joy rising above the stale material .


entirely suspenseful , extremely


is solid , satisfying fare for adults .


the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality


its magic


beautifully edited


marshall puts a suspenseful spin on standard horror flick formula .


as enlightening , insightful and entertaining as grant 's two best films


new kind


s1m0ne 's satire is not subtle ,


though it 's not very well shot or composed or edited , the score is too insistent


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


pleasures


is never clear


co-writers lisa bazadona and grace woodard


a huge box-office


good and different


i was trying to decide what annoyed me most about god is great ... i 'm not , and then i realized that i just did n't care .


polished , well-structured film


there are zoning ordinances to protect your community from the dullest science fiction


ecstasy


the charm of revolution os is rather the way it introduces you to new , fervently held ideas and fanciful thinkers .


is an in-your-face family drama and black comedy that is filled with raw emotions conveying despair and love


the brilliant performances by testud


nonsensical story


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


's crap on a leash -- far too polite to scale the lunatic heights of joe dante 's similarly styled gremlins .


because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue


by no means a slam-dunk and sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act , it still comes off as a touching , transcendent love story .


and pretentious endeavor


a personal low


god help us


face arrest 15 years after their crime


i still want my money back .


and more entertaining , too


is not enough to give the film the substance it so desperately needs .


never fails to fascinate .


all comes down to whether you can tolerate leon barlow .


inventive cinematic tricks and


the film does n't show enough of the creative process or even of what was created for the non-fan to figure out what makes wilco a big deal .


suffers from its timid parsing of the barn-side target of sons trying to breach gaps in their relationships with their fathers .


that pours into every frame


cultural satire


enveloping affection


's as if a bored cage spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet ? ''


this is n't exactly profound cinema ,


puts a human face on derrida , and makes one of the great minds of our times interesting and accessible


that the lack of linearity is the point of emotional and moral departure for protagonist alice


the mess


's mildly sentimental


is heartening in the same way that each season marks a new start .


maryam is a small film , but it offers large rewards


uniquely itself


narrative banality


uncommonly ambitious


just does n't figure in the present hollywood program .


sadly proving once again ego does n't always go hand in hand with talent


is n't it a bit early in his career for director barry sonnenfeld to do a homage to himself ?


you 'll have a good time with this one too


i 'm not exactly sure what -- and has all the dramatic weight of a raindrop


of such a well loved classic


created a substantive movie


( i ) t 's certainly laudable that the movie deals with hot-button issues in a comedic context , but barbershop is n't as funny as it should be


, beautifully produced film


is n't very funny


solid acting and a neat premise


putrid it is not worth


immature and unappealing to care about


to be bad


ballsy


, astonish and entertain


the dirty jokes provide the funniest moments in this oddly sweet comedy about jokester highway patrolmen .


very much like life


in this poor remake of such a well loved classic , parker exposes the limitations of his skill and the basic flaws in his vision . '


hollywood ending just is n't very funny .


a corny examination


ones that were imposed for the sake of commercial sensibilities


winds up being both revelatory and narcissistic , achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars


that this noble warlord would be consigned to the dustbin of history


emotional blandness


a feat any thinking person is bound to appreciate


an intimate feeling ,


an honored screen veteran


some of the visual flourishes are a little too obvious , but restrained and subtle storytelling , and fine performances make this delicate coming-of-age tale a treat


nemesis suffers from a paunchy midsection , several plodding action sequences and a wickedly undramatic central theme .


does n't become smug or sanctimonious towards the audience


frustrated and detached


a sweet-tempered comedy


a fine documentary


jacquot preserves tosca 's intoxicating ardor through his use of the camera .


arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone


it 's mildly interesting to ponder the peculiar american style of justice that plays out here ,


intricately structured and well-realized drama


so impersonal or


proves to be a good match of the sensibilities of two directors .


might try paying less attention to the miniseries and more attention to the film it is about


is clearly a good thing .


thrill you , touch you and make you


written so well ,


undone by a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads


i found myself howling more than cringing


stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .


the best he 's been in years


speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand


the overall fabric is hypnotic ,


complete moron


you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .


great deal


it 's good-natured and sometimes quite funny


smile


the movie 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 .


'll find it with ring , an indisputably spooky film ; with a screenplay to die for


his characters are acting horribly


is oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that


naturalistic


larry fessenden 's spooky new thriller


, tavernier 's film bounds along with the rat-a-tat energy of `` his girl friday , '' maintaining a light touch while tackling serious themes .


gives us a reason to care about them


savor the story


a preposterous , prurient whodunit .


cheapened


vulgarity , sex scenes , and


winter landscapes


eat up


shows how deeply felt emotions can draw people together across the walls that might otherwise separate them


constantly pulling the rug from underneath us ,


would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture


psychologically savvy .


white oleander may leave you rolling your eyes in the dark , but that does n't mean you wo n't like looking at it


after an uncertain start


no major discoveries , nor any stylish sizzle


dramatic impact


the film is way too full of itself


however entertainingly presented ,


illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box


poignant and funny .


a rumor of angels does n't just slip --


-- and disposable story


... a weak and ineffective ghost story without a conclusion or pay off .


the funniest moments


impeccable sense


a pleasing verisimilitude


be quirky and funny


by ryan gosling


one of the most splendid entertainments to emerge from the french film industry in years .


the stale material


can impart an almost visceral sense of dislocation and change


that 's truly deserving of its oscar nomination


a powerful and telling story that examines


it 's truly awful and heartbreaking subject matter , but one whose lessons are well worth revisiting as many times as possible .


handled correctly , wilde 's play is a masterpiece of elegant wit and artifice .


's face is ) an amazing slapstick instrument ,


enhanced


best possible ways


entirely improvised


make you wish you were at home watching that movie instead of in the theater watching this one


wretched


in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters


ame and unnecessary


lacks the spirit of the previous two , and


for the perspective it offers


even less surprises


compelling historical tale


venturesome


it certainly does n't feel like a film that strays past the two and a half mark


in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad


unfocused screenplay


for all its social and political potential , state property does n't end up being very inspiring or insightful .


rollerball left us cold


vibrant , and intelligent


if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .


so sloppy ,


wall-to-wall good time


's just brilliant in this


, ice age is consistently amusing and engrossing ...


his strongest performance since the doors


most refreshing about real women have curves


an unsettling sight


where nothing 's happening


stultifyingly obvious


's as comprehensible as any dummies guide , something even non-techies can enjoy


raucously amusing


marks him as one of the most interesting writer/directors working today


seems manufactured to me and artificial


is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil


as sexy


dreary mess


fun , curiously adolescent movie


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


your pooper-scoopers


... the film 's considered approach to its subject matter is too calm and thoughtful for agitprop , and the thinness of its characterizations makes it a failure as straight drama . '


while this film has an ` a ' list cast and some strong supporting players


comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness


the plight


gaunt , silver-haired and leonine ,


addition to gluing you to the edge of your seat


most pitiful directing


poor editing , bad bluescreen , and ultra-cheesy dialogue


a terrifically entertaining specimen of spielbergian


despite a fairly slow paced , almost humdrum approach to character development


it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities


: it 's not scary in the slightest .


what 's so fun about this silly , outrageous , ingenious thriller


is both gripping and compelling


that 's right


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


the saigon of 1952 is an uneasy mix of sensual delights and simmering violence , and the quiet american brings us right into the center of that world


though lan yu lacks a sense of dramatic urgency , the film makes up for it with a pleasing verisimilitude .


leaving you with some laughs and a smile


timeless and unique perspective


it is very difficult to care about the character


it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action .


that you 'll want to crawl up your own *** in embarrassment


neither the funniest film that eddie murphy nor robert de niro has ever made , showtime is nevertheless efficiently amusing for a good while .


to a small star with big heart


seen in that light


shrewd enough


less compelling than the circumstances of its making


dramatic nor


into the modern rut of narrative banality


string


more holes


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


the comic elements of the premise , making the proceedings more bizarre than actually amusing


'd need a shower


new star wars movie


be swept away by the sheer beauty of his images


fairly enjoyable mixture


nor truly edgy -- merely crassly flamboyant and comedically labored .


exhilarating


opens with maggots crawling on a dead dog


a `` snl '' has-been acting like an 8-year-old channeling roberto benigni


turn on many people


too bad to be good and


be a talky bore


with its unbelievable naïveté and arbitrary flashbacks


celebrates


's not a bad premise , just a bad movie


a sweet little girl


the awe


proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary


it 's an ambitious film , and as with all ambitious films , it has some problems


the funniest and most accurate depiction of writer


does n't try to surprise us with plot twists


funnier version of the old police academy flicks


`` bad '' is the operative word for `` bad company , '' and i do n't mean that in a good way .


a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then


puts enough salt into the wounds of the tortured and self-conscious material to make it sting .


overrides


of disconnection


the film does n't manage to hit all of its marks


is not as terrible as the synergistic impulse that created it


are served with a hack script .


, sweet , and intermittently hilarious


's a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism


that are so crucial to the genre and another first-rate performance by top-billed star bruce willis


satisfying crime drama


as stick figures reading lines from a teleprompter


refreshing and comical


more watchable


low , very low


the script 's flaws


take its sweet time to get wherever it 's going


twenty the worst of the brosnan bunch


the empty stud knockabout


a low-budget hybrid


a hilarious ode


you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you


an absorbing and unsettling psychological drama .


bad animation


fresh or enjoyable


excruciating demonstration


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


exhaustion , from watching a movie that is dark ( dark green , to be exact ) ,


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


excitement


part biography , part entertainment and


high-wattage brainpower


are ... impeccable throughout


surprisingly idealistic


is a tribute to shyamalan 's gifts , which are such that we 'll keep watching the skies for his next project .


honest working man john q. archibald , on a pedestal , then keeps lifting the pedestal higher


a pretentious and ultimately empty examination of a sick and evil woman .


do little to salvage this filmmaker 's flailing reputation


its courageousness , and comedic employment


turgid fable


take on the soullessness of work


` dumb


michael moore 's bowling for columbine rekindles the muckraking , soul-searching spirit of the ` are we a sick society ? '


tepid genre offering


its mean-spirited second half


no better or worse than ` truth or consequences , n.m. ' or any other interchangeable actioner with imbecilic mafia


is almost completely lacking in suspense , surprise and consistent emotional conviction .


there 'll be a power outage during your screening so you can get your money back


apparently nobody here bothered to check it twice .


the film is one of the year 's best .


collapses after 30 minutes into a slap-happy series of adolescent violence .


when you doze off thirty minutes into the film


astonishingly condescending


screwing


is merited


experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads


the urban landscapes are detailed down to the signs on the kiosks , and the color palette , with lots of somber blues and pinks , is dreamy and evocative .


preachy-keen


intriguing twist


's consistently funny , in an irresistible junior-high way , and consistently free


damned


the all-too-familiar saga of the contemporary single woman


a superlative b movie


would 've worked a lot better had it been a short film


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


too many flashbacks


for laughs and not the last time


single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department


if not morally bankrupt , at least terribly monotonous


miyazaki 's nonstop images are so stunning , and his imagination so vivid ,


completely awful iranian drama


real


drawn into the exotic world of belly dancing


leguizamo 's best movie work


eager to please


bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made .


a winning piece


the historical , philosophical


a much larger historical context


no quarter to anyone


film that loses sight of its own story .


a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience


a harrowing account of a psychological breakdown .


to better understand why this did n't connect with me would require another viewing , and


might enjoy this


funny in the middle of sad in the middle of hopeful


's no energy .


utterly incompetent


the gabbiest giant-screen movie


bloodbath


incoherence and redundancy


from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron


raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings .


gasp , shudder and even tremble without losing his machismo


your seat with its shape-shifting perils , political intrigue and brushes


a funny moment or two


great one


rock and stolid anthony hopkins


appropriately cynical social commentary aside , # 9 never quite ignites .


an exceptionally


it is formula filmmaking


both ugly and mindless


that interest attal and gainsbourg


patriotic


in their cheap , b movie way


driven by a fantastic dual performance from ian holm ...


were written by somebody else


illuminating comedy


a ravishing , baroque beauty


the script boasts some tart tv-insider humor ,


does n't really know or care about the characters


slack and uninspired , and peopled mainly by characters so unsympathetic that you 're left with a sour taste in your mouth


is the way it skirts around any scenes that might have required genuine acting from ms. spears .


filmmaking that is plainly dull and visually ugly when it is n't incomprehensible .


best and most exciting movies


is a bowser .


of discovery


exceptionally well acted by diane lane and richard gere .


limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly


... the whole thing succeeded only in making me groggy .


is both inspiring and pure joy .


a liability


atrociously , mind-numbingly , indescribably bad movie


will all but take you to outer space


like such a bore


the film does n't really care about the thousands of americans who die hideously


is no doubt that krawczyk deserves a huge amount of the credit for the film 's thoroughly winning tone


aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness


high drama , disney-style - a wing and a prayer and a hunky has-been pursuing his castle in the sky .


woody allen can write and deliver a one liner as well as anybody .


not because of its epic scope , but because of the startling intimacy


its just not a thrilling movie


the movie 's contrived , lame screenplay


a fine-looking film with a bouncy score and


it 's so badly made on every level that i 'm actually having a hard time believing people were paid to make it .


a dysfunctional parent-child relationship


a boring , pretentious waste


you can fire a torpedo through some of clancy 's holes


make it look as though they are having so much fun


one of the most high-concept sci fi adventures attempted for the screen


a very funny romantic comedy


've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama


feel genuinely good


miyazaki 's nonstop images are so stunning , and his imagination so vivid , that the only possible complaint you could have about spirited away is that there is no rest period , no timeout


a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 .


manages to accomplish what few sequels can -- it equals the original and in some ways even betters it .


, it 's exploitive without being insightful .


with ambitious , eager first-time filmmakers


even lazier and far less enjoyable


so insatiable


a satisfying kids flck becomes increasingly implausible as it races through contrived plot points


horrifying and oppressively tragic


postcard perfect ,


to its proper home


wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time


warm and fuzzy


sometimes makes less sense than the bruckheimeresque american action flicks it emulates .


good ideas


a strict reality


, laughably predictable wail pitched to the cadence of a depressed fifteen-year-old 's suicidal poetry .


anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes


... plenty of warmth to go around , with music and laughter and the love of family .


light ( yet unsentimental )


will welcome or accept the trials of henry kissinger as faithful portraiture


a funny , triumphant , and


that i usually dread encountering the most


our infantilized culture that is n't entirely infantile


, i spy has all the same problems the majority of action comedies have .


well worth revisiting as many times as possible


shakespeare 's eloquent language


the script was reportedly rewritten a dozen times --


too clumsy in key moments


, this quirky soccer import is forgettable


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


onto the end credits


comes across as a relic from a bygone era , and its convolutions ... feel silly rather than plausible .


scratch is great fun , full of the kind of energy it 's documenting .


that it 's so not-at-all-good


enjoyment to be had from films crammed with movie references


only in making me groggy


plenty to offend everyone


dissing the film


from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair


disease


to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and


makes her nomination as best actress even more of a an a


for a film -- rowdy , brawny and lyrical in the best irish sense


is too impressed with its own solemn insights to work up much entertainment value


's that rare family movie -- genuine and sweet without relying on animation or dumb humor .


one of the very best movies ever made about the life of moviemaking .


a blast


quibble with a flick boasting this many genuine cackles


i suspect it might deliver again and again


simone '' is a fun and funky look into an artificial creation in a world that thrives on artificiality .


is essentially a subculture , with its own rules regarding love and family , governance and hierarchy


what could have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination .


be exasperated by a noticeable lack of pace


hear george orwell turning over


may be galled that you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie


pedestrian , flat drama


long bore .


good alternative


, genuine


an elegant film with often surprising twists and an intermingling of naiveté and sophistication


a cliché left


it does n't improve upon the experience of staring at a blank screen


the dreary expanse of dead-end distaste


draw people together across the walls that might otherwise separate them


berling and béart ... continue to impress , and isabelle huppert ... again shows uncanny skill in getting under the skin of her characters


the film settles too easily along the contours of expectation


henry bean 's thoughtful screenplay


you realize there 's no place for this story to go but down


brainless


christmas spirit


scored and powered by a set of heartfelt performances


it 's an enjoyable trifle nonetheless


a movie-industry satire


call this film a lump of coal


, biting and witty feature


inconsistent


honorably mexican and burns its kahlories with conviction .


it sees those relationships , including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen .


matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .


mamet 's airless cinematic shell games .


aimless


constant smiles and


of an overripe episode of tv 's dawson 's creek and a recycled and dumbed-down version of love story


the saccharine sentimentality