dramatic experience .


quirky and satirical touches


quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film


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


it 's wasted yours


armed with a game supporting cast , from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud


a change in expression


is that it 's far too sentimental


treats the subject with fondness and respect


that that 's exactly what these two people need to find each other


amusing study


championship material


laughed


is that it 's a rock-solid little genre picture


seriousness and quality


to be both hugely entertaining and uplifting


unabashedly romantic


has been overexposed , redolent of a thousand cliches ,


is sincere


comedic employment


wrong things


carrying this wafer-thin movie


a good music documentary


enhances the excellent performances


witty , whimsical feature


effective if you stick with it


( a ) boldly stroked , luridly colored , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .


that an epic four-hour indian musical about a cricket game could be this good


like done-to-death material


goofy pleasure


vin diesel is the man .


with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there 's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .


efficient


talkiness is n't necessarily bad


without merit


these self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation .


, this could be a passable date film .


trash-cinema roots


the film never gets over its own investment in conventional arrangements , in terms of love , age , gender , race , and class .


running on empty ,


insanely dysfunctional


the scenic splendor


show for their labor , living harmoniously , joined in song


sickening thud


arnold is not , nor will he be , back


the new film is a lame kiddie flick


should please fans of chris fuhrman 's posthumously published cult novel


like john le carré with a couple of burnt-out cylinders


to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings


of clean and sober


squashed


to play second fiddle to the dull effects that allow the suit to come to life


barely makes it any less entertaining


intriguing


the action as gripping


his life-altering experiences


good enough


dumb , credulous , unassuming , subordinate subjects


with most intelligent viewers


show the gentle and humane side of middle eastern world politics


sweet as greenfingers


it 's light on the chills and heavy on the atmospheric weirdness


and twisted characters


unfortunately , outnumber the hits by three-to-one .


his film overwhelmed


insipid script


a complex web


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


's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing


is to be cherished .


of the most splendid


more than sucking you in ... and making you sweat


the lord


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


you 've actually spent time living in another community


`` bad '' is the operative word for `` bad company


tries to seem sincere , and just


of that delicate canon


frustrates


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


were insulted


it 's not very good either .


were made by a highly gifted 12-year-old instead of a grown man


cult film


it 's as if solondz had two ideas for two movies , could n't really figure out how to flesh either out , so


it goes down easy , leaving virtually no aftertaste .


lucid work


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


genteel and unsurprising the execution


think of a film more cloyingly


too loud


movie nothing


for its true-to-life characters , its sensitive acting , its unadorned view of rural life and the subtle direction of first-timer hilary birmingham


nonjudgmental kind


fails to keep it up and settles into clichés


see this piece of crap again


it feels more like the pilot episode of a tv series than a feature film


had a bad run in the market or a costly divorce


with universal appeal


stuck in an inarticulate screenplay


brilliantly written


it 's an entertaining and informative documentary .


radiates star-power potential in this remarkable and memorable film .


that they 're stuck with a script that prevents them from firing on all cylinders


to give blade fans another look at wesley snipes ' iconic hero doing battle with dozens of bad guys -- at once


manages never to grow boring ... which proves that rohmer still has a sense of his audience .


to find greatness in the hue of its drastic iconography


capturing the innocence and idealism of that first encounter


an enjoyable


of a typical american horror film


an admirable


if we sometimes need comforting fantasies about mental illness , we also need movies like tim mccann 's revolution no. 9 .


raised to a new , self-deprecating level


, like ravel 's bolero , builds to a crescendo that encompasses many more paths than we started with


goes on and on to the point of nausea


the film occasionally tries the viewer 's patience with slow pacing and a main character who sometimes defies sympathy , but it ultimately satisfies with its moving story


metaphysical claptrap


, smart , savvy , compelling


( washington 's ) strong hand


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


a collectively stellar performance


say the least , not to mention inappropriate and wildly undeserved


substance and soul


buy is an accomplished actress , and


a long , dull procession of despair ,


some kid who ca n't act , only echoes of jordan ,


familiar and predictable


the achingly unfunny phonce


captures , in luminous interviews and amazingly evocative film from three decades ago , the essence of the dogtown experience .


certain ambition


the plot of the comeback curlers is n't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what 's unique and quirky about canadians


tendentious intervention into the who-wrote-shakespeare controversy .


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


a culture-clash comedy that , in addition to being very funny , captures some of the discomfort and embarrassment of being a bumbling american in europe .


yourself rooting for the monsters in a horror movie


it 's rare to see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid '' .


the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .


arnold schwarzenegger


is barely


the characters are based on stock clichés


dying


among the chief reasons brown sugar is such a sweet and sexy film


dreamy and


will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely


it 's a hellish , numbing experience to watch , and


sarah 's dedication to finding her husband seems more psychotic than romantic ,


carvey 's considerable talents are wasted in it


third-rate horror sequels


it forces you to watch people doing unpleasant things to each other and themselves , and it maintains a cool distance from its material that is deliberately unsettling .


are quite touching


of a depressed fifteen-year-old 's suicidal poetry


brainless


not-so-funny gags ,


's actually watchable


you feel good , you feel sad , you feel pissed off , but in the end , you feel alive - which is what they did .


it demands that you suffer the dreadfulness of war from both sides


seems to have forgotten everything he ever knew about generating suspense .


fills the time with drama , romance , tragedy , bravery , political intrigue , partisans and sabotage


ferocity and


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


spiced with the intrigue of academic skullduggery and politics


the sight of the spaceship on the launching pad is duly impressive in imax dimensions , as are shots of the astronauts floating in their cabins .


is so deadly dull


interesting cinematic devices ( cool visual backmasking ) , a solid cast


what 's not to like about a movie with a ` children 's ' song that includes the line ` my stepdad 's not mean , he 's just adjusting ' ?


does the trick of making us care about its protagonist and celebrate his victories


off-beat and fanciful film


came handed down from the movie gods on a silver platter


, she is merely a charmless witch .


rueful , wry humor


you 're not merely watching history


fairly revealing


there surrender $ 9 and 93 minutes of unrecoverable life


it was only made for teenage boys and wrestling fans


tiresome jokes


a major director


plenty of laughs


solaris is rigid and evasive in ways that soderbergh 's best films , `` erin brockovich , '' `` out of sight '' and `` ocean 's eleven , '' never were .


in addition to being very funny


as lame and sophomoric


of portraying the devastation of this disease


sad , sick sight


spite of clearly evident poverty and hardship


trying to cope with the mysterious and brutal nature of adults


's difficult to shrug off the annoyance of that chatty fish


this is n't exactly profound cinema , but it 's good-natured and sometimes quite funny


of a genuine and singular artist


that defies classification and is as thought-provoking as it


technically sumptuous but also


ungainly


comes closer to the failure of the third revenge of the nerds sequel


a delicious , quirky movie


tunney , brimming with coltish , neurotic energy , holds the screen like a true star .


this is popcorn movie fun with equal doses of action , cheese , ham and cheek ( as well as a serious debt to the road warrior ) , but it feels like unrealized potential


worth the price of admission


's funniest and most likeable movie in years .


, dishonest


is having fun with it all


does n't come close to justifying the hype that surrounded its debut at the sundance film festival two years ago


have n't laughed that hard in years


miike


is kinda wrong in places


make interesting


the thematic ironies are too obvious and the sexual politics too smug


are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


very thrilling


failed jokes


's a testament to de niro and director michael caton-jones that by movie 's end , we accept the characters and the film , flaws and all


best sequel


is neither light nor magical enough to bring off this kind of whimsy .


this facetious smirk


fifty years after the fact , the world 's political situation seems little different , and ( director phillip ) noyce brings out the allegory with remarkable skill .


few things more frustrating


a huge disappointment coming , as it does , from filmmakers and performers of this calibre


less a documentary and more propaganda


, entertaining comedy


convincingly paints a specifically urban sense of disassociation here .


pleasant and engaging enough


, solid , kinetically-charged spy flick worthy


if i want a real movie


the character 's gripping humanity


a thoroughly awful movie -- dumb , narratively chaotic , visually sloppy ... a weird amalgam of ` the thing ' and a geriatric


an inuit masterpiece that will give you goosebumps as its uncanny tale of love , communal discord , and justice


returning director rob minkoff ... and screenwriter bruce joel rubin


fondness for fancy split-screen , stuttering editing and pompous references to wittgenstein and kirkegaard


has all of dean 's mannerisms and self-indulgence , but none of his sweetness and vulnerability


and resourceful hero


for large-scale action and suspense


bang your head on the seat in front of you , at its cluelessness


stay afloat


painfully


if you love the music , and i do , its hard to imagine having more fun watching a documentary ...


can never escape the heart of the boy when the right movie comes along , especially if it begins with the name of star wars


even kids deserve better .


a better celebration


too stagey , talky


neil burger here succeeded in ... making the mystery of four decades back the springboard for a more immediate mystery in the present .


small , personal film


an autopilot hollywood concoction


of the impossibly long limbs and sweetly conspiratorial smile


a skyscraper


the forced new jersey lowbrow accent uma had


guess it just goes to show that if you give a filmmaker an unlimited amount of phony blood , nothing good can happen .


drowned me in boredom .


about in thick clouds of denial


namely , an archetypal desire to enjoy good trash every now and then .


the pacing is deadly , the narration helps little and


works beautifully as a movie without sacrificing the integrity of the opera .


jerking off


grade


the journey is such a mesmerizing one


starts out like heathers , then becomes bring it on , then becomes unwatchable


inane , humorless and under-inspired .


is so prolonged and boring it is n't even close to being the barn-burningly bad movie it promised it would be


the movie only proves that hollywood no longer has a monopoly on mindless action


historically significant , and


gooding offers a desperately ingratiating performance .


donovan ... squanders his main asset , jackie chan , and


humanity or empathy


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


absurd lengths


another love story in 2002 's remarkable procession of sweeping pictures that have reinvigorated the romance genre .


enough substance


opened it up for all of us


's funny and human and really pretty damned wonderful , all at once


they ca n't go wrong .


the milieu is wholly unconvincing


only for the film 's publicists or for people who take as many drugs as the film 's characters


, any john waters movie has it beat by a country mile .


matinee price


neatly constructed thriller .


have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head


before but never so vividly


personal


an athlete , a movie star , and


to think of any film more challenging or depressing than the grey zone


his impressively delicate range


the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense


gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record


thriller junk


a lot going for it , not least the brilliant performances by testud ... and parmentier


when you instantly know whodunit


in theory , a middle-aged romance pairing clayburgh and tambor sounds promising ,


fun , and


's really just another major league .


no unifying rhythm or visual style


a warmth that is n't faked


the terrifying message


to a film about a family 's joyous life


decent


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


sorvino makes the princess seem smug and cartoonish


to overcome adversity


one of those so-so films that could have been much better


shows what great cinema can really do


lazy


though it 's not very well shot or composed or edited , the score is too insistent and the dialogue is frequently overwrought and crudely literal


the biggest disappointments of the year


romantic


for philosophers , not filmmakers


derivativeness


courage and


the kind of quirkily appealing minor movie she might not make for a while


if this sappy script was the best the contest received , those rejected must have been astronomically bad .


painful as the grey zone


a backseat in his own film


sheridan has settled for a lugubrious romance


romance , tragedy


to convince the audience that these brats will ever be anything more than losers


's extremely hard to relate to any of the characters


it 's exactly the kind of movie toback 's detractors always accuse him of making .


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


should have been a cutting hollywood satire


imagine ( if possible ) a pasolini film without passion or politics , or an almodovar movie without beauty or humor ,


awesome work


is a popcorn film , not a must-own , or even a must-see


the most edgy piece


offers laughs and insight into one of the toughest ages a kid can go through .


sci-fi .


consistency


accomplished and richly resonant work .


're left with a sour taste in your mouth


nearly breaks its little neck trying to perform entertaining tricks


its unique feel


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


the piano teacher


the film ) tackles the topic of relationships in such a straightforward , emotionally honest manner that by the end


a brainless flibbertigibbet


simply stupid , irrelevant and


bill plympton , the animation master ,


written , flatly , by david kendall and


fleshed-out enough to build any interest


humor , warmth ,


true to his principles


it 's an unhappy situation all around .


ultimately it 's undone by a sloppy script


is that it 's too close to real life to make sense .


pleasing the crowds


thematically and stylistically


a must


nothing but an episode of smackdown


atrocities


an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .


cold , oddly colorful and just plain otherworldly , a freaky bit of art that 's there to scare while we delight in the images


the château would have been benefited from a sharper , cleaner script before it went in front of the camera .


crowdpleaser


into a black hole of dullness


particularly joyless , and


directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men


the first half of gangster no. 1 drips with style


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


not infrequently breathtaking


some of the magic we saw in glitter here in wisegirls


gives his best screen


sketchy


wrong hands


while nothing special , is pleasant , diverting and modest -- definitely a step in the right direction .


emphasising her plight and isolation


fifth beer-soaked film


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


that ` alabama ' manages to be pleasant in spite of its predictability


one of recent memory 's most thoughtful films about art , ethics , and the cost of moral compromise .


, is still good fun .


has no snap


an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller


flat , unconvincing drama


superficial and unrealized


can get past the taboo subject matter


of predictable narrative rhythms


a kind , unapologetic , sweetheart


's awfully entertaining


has a genuine dramatic impact


i think it was plato who said , ' i think , therefore i know better than to rush to the theater for this one . '


are simply too good


never lets go your emotions , taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving .


goofily endearing and well-lensed


feels all too familiar


's impossible to claim that it is `` based on a true story '' with a straight face .


steeped in fairy tales and other childish things


of the film with a creepy and dead-on performance


lurches between not-very-funny comedy , unconvincing dramatics


has something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense .


walked out


wanders


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


treading water at best in this forgettable effort


improved upon the first and taken it a step further , richer and deeper


that swings and jostles to the rhythms of life


without beauty or humor


a fascinating case study of flower-power liberation -- and


it works


is surely the funniest and most accurate depiction of writer


weary


convincing impersonation


lacks in substance


disconnects every 10 seconds


poise


longley 's film


have banged their brains into the ground so frequently


in gross romanticization of the delusional personality type


in their cheap , b movie way , they succeed


unusual biopic and document


all too familiar ... basically the sort of cautionary tale that was old when ` angels with dirty faces ' appeared in 1938


, margarita happy hour represents an auspicious feature debut for chaiken .


kieran culkin a pitch-perfect holden


will turn out okay


a little uneven to be the cat 's meow , but it 's good enough to be the purr


wince in embarrassment and others , thanks to the actors


the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits .


i 'd be lying if i said my ribcage did n't ache by the end of kung pow .


is actually a compelling look at a young woman 's tragic odyssey .


a chilling movie without oppressive gore .


much of all about lily chou-chou is mesmerizing : some of its plaintiveness could make you weep


allegedly inspiring and


as big a crowdpleaser as


engross even


nicolas cage is n't the first actor to lead a group of talented friends astray , and this movie wo n't create a ruffle in what is already an erratic career .


personal loss


people to whom the idea of narrative logic or cohesion is an entirely foreign concept


is as blasphemous and nonsensical as a luis buñuel film


it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia


the story has little wit and no surprises .


a gory slash-fest


alienated


serves up all of that stuff , nearly subliminally


about half of them are funny , a few are sexy and


animation and game phenomenon


not for their acting chops , but for their looks


would have a good time here


hollywood ending is a depressing experience


it 's always enthralling .


of stunning images and effects


wertmuller 's social mores and politics to tiresome jargon


absolutely unnecessary


it 's an effort to watch this movie , but it eventually pays off and is effective if you stick with it .


on johnny knoxville 's stomach


more than four


a wildly erratic drama with sequences that make you wince in embarrassment and others , thanks to the actors , that are quite touching .


not only a reminder of how they used to make movies , but also how they sometimes still can be made .


visually breathtaking


lack a strong-minded viewpoint , or a sense of humor .


excellent choice


a guarantee


seems content to dog-paddle in the mediocre end of the pool , and


is simply a lazy exercise in bad filmmaking that asks you to not only suspend your disbelief but your intelligence as well .


isolation


so sloppy , so uneven


likes


be thinking about going to see this movie


most remarkable


inner-city streets


approaches his difficult , endless work with remarkable serenity and discipline .


wry humor


its rawness and vitality give it considerable punch .


amusing and unsettling


mr. haneke 's own sadistic tendencies


, i 'd say the film works


won --


a smart , provocative drama that does the nearly impossible : it gets under the skin of a man we only know as an evil , monstrous lunatic


a dazzling dream of a documentary .


a stirring , funny


it would be better as a diary or documentary


this is n't even a movie we can enjoy as mild escapism


before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo


as ugly as the shabby digital photography and muddy sound


comes off as a kingdom more mild than wild


screwed-up


uselessly redundant and


punitive minutes


would look like something like this


, 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 .


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


unique and quirky


it 's a hoot watching the rock chomp on jumbo ants , pull an arrow out of his back , and leap unscathed through raging fire !


sad to say -- it accurately reflects the rage and alienation that fuels the self-destructiveness of many young people .


is an exercise not in biography but in hero worship .


, slapdash disaster .


carry the movie


is pretty funny


sink it faster than a leaky freighter


the concept behind kung pow : enter the fist is hilarious


's a lovely , sad dance highlighted by kwan 's unique directing style .


eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel


an engrossing portrait of uncompromising artists trying to create something original against the backdrop of a corporate music industry that only seems to care about the bottom line


runs a good race , one that will have you at the edge of your seat for long stretches


a class with spike lee 's masterful


impudent


often very funny


we 'd live in if argento 's hollywood counterparts ... had this much imagination and nerve


dates


loved


with a mixture of deadpan cool , wry humor and just the measure


guts


spare dialogue


on expressing itself in every way imaginable


warm the hearts of animation enthusiasts of all ages


climate


pump life into overworked elements from eastwood 's dirty harry period


has thrown every suspenseful cliché in the book at this nonsensical story .


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


occasional charms


an uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection


a future they wo n't much care about


the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .


manages to delight without much of a story .


the importance of being earnest , so thick with wit it plays like a reading from bartlett 's familiar quotations


in which the rest of the cast was outshined by ll cool j.


it 's dark but has wonderfully funny moments ; you care about the characters ; and the action and special effects are first-rate


a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .


heartfelt comedy


stale material


comes to life in the performances .


the stunt work is top-notch


just that and it 's what makes their project so interesting


if it chiefly inspires you to drive a little faster


emphasizes the q in quirky , with mixed results .


unfilmable


the recording sessions are intriguing


enormously enjoyable , high-adrenaline documentary .


establishes itself as a durable part of the movie landscape


brutally honest and


give you goosebumps as its uncanny tale of love , communal discord , and justice


a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .


a thought-provoking picture .


end on a positive ( if tragic ) note


its delightful cast


by its art and heart


all the more disquieting for its relatively gore-free allusions to the serial murders ,


just too bratty for sympathy


's both charming


a group of dedicated artists


of ` fatal attraction ' for the teeny-bopper set


her film is like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless .


its target audience talked all the way through it


works better in the conception than it does in the execution ... winds up seeming just a little too clever .


imagine 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


its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes


that 's about as subtle as a party political broadcast


the idea of making kahlo 's art a living , breathing part of the movie , often catapulting the artist into her own work


gives a performance that is masterly .


a wonderous accomplishment


the master of disguise may have made a great saturday night live sketch , but a great movie it is not .


aggravating and tedious .


an oddly fascinating depiction


so boring


the lady and the duke surprisingly


captivates and shows how a skillful filmmaker can impart a message without bludgeoning the audience over the head .


which they have been patiently waiting for


may not be a breakthrough in filmmaking , but it is unwavering and arresting .


ethereal beauty


romantic comedy genre


at once visceral and spiritual , wonderfully vulgar and sublimely lofty


amid the deliberate , tiresome ugliness


, rapid-fire delivery


feature-length


an opportunity to embrace small , sweet ` evelyn


it looks good , sonny , but you missed the point


of barney 's crushingly self-indulgent spectacle


striking


at the station looking for a return ticket to realism


puts the ` ick ' in ` classic .


shows us a slice of life that 's very different from our own and yet instantly recognizable .


a delicious and delicately funny look


challenges


genuine laughs


some of its repartee is still worth hearing .


of better films


in the media


comes alive as its own fire-breathing entity in this picture


best straight-up


vibrant whirlwind


has already appeared in one forum or another


a hallmark film in an increasingly important film industry and worth the look .


with nothing but a savage garden music video on his resume


page-turning


with humor , warmth , and intelligence


drudgery .


keep pushing the jokes at the expense of character until things fall apart .


is violated


i would go back and choose to skip it .


the following things are not at all entertaining : the bad sound , the lack of climax and , worst of all , watching seinfeld ( who is also one of the film 's producers ) do everything he can to look like a good guy


's a funny little movie with clever dialogue and likeable characters .


behan 's memoir is great material for a film -- rowdy , brawny and lyrical in the best irish sense


your dream


become a household name on the basis of his first starring vehicle


further sad evidence that tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony


high-minded


a slam-bang extravaganza


is somehow making its way instead to theaters .


a very lively dream


, with humor , warmth , and intelligence , captures a life interestingly lived


from its sleazy moralizing


breathtaking mystery


woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the `` saving private ryan '' battle scenes before realizing steven spielberg got it right the first time ?


a lot smarter than your average bond .


transcends its agenda to deliver awe-inspiring , at times sublime , visuals and


is actually funny with the material


that krawczyk deserves a huge amount of the credit for the film 's thoroughly winning tone


execution and skill


shines on all the characters


rubbish that is listless , witless , and devoid of anything resembling humor .


earnest , unsubtle and hollywood-predictable , green dragon is still a deeply moving effort to put a human face on the travail of thousands of vietnamese .


eyeballs


the style and flash of the double-cross that made mamet 's `` house of games '' and last fall 's `` heist '' so much fun


infuses it into a rustic , realistic , and altogether creepy tale of hidden invasion


skillful and moving


all the substance of a twinkie -- easy to swallow , but scarcely nourishing


has much to recommend it ,


gives a human face to what 's often discussed in purely abstract terms .


runs on the pure adrenalin of pacino 's performance


the poor and


a tattered and ugly past with rose-tinted glasses


dehumanizing


reading lines


heard before


which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming


an unholy mess ,


visual virtues


'' winner


bona fide groaners


, you 're too interested to care .


is authentic to the core of his being .


far too clever by half , howard 's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .


with an unusual protagonist ( a kilt-wearing jackson ) and subject matter , the improbable `` formula 51 '' is somewhat entertaining


built-in audience


bogged down in earnest dramaturgy


bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie


amusing ,


the most entertaining bonds in years


is a load of clams left in the broiling sun for a good three days


appreciates the art


do all three quite well , making it one of the year 's most enjoyable releases


most important and exhilarating forms


although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a ` topless tutorial service


... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920 's ... the film 's ending has a `` what was it all for ?


too many scenes toward the end


's full of cheesy dialogue , but great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s


a more confused , less interesting and more sloppily


most ravaging


equally miserable


i admire the closing scenes of the film , which seem to ask whether our civilization offers a cure for vincent 's complaint .


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


the expressive power


it attractive throughout


entirely suspenseful , extremely well-paced and ultimately


editing and pompous references


inspirational status


( a ) poorly executed comedy .


gentle but


may offend viewers not amused by the sick sense of humor .


... this is n't even a movie we can enjoy as mild escapism ; it is one in which fear and frustration are provoked to intolerable levels .


` the war of the roses , ' trailer-trash style .


accomplished and


no worse a film than breaking out , and breaking out was utterly charming .


the soulful development


the unsettled tenor


are clinically depressed and


the explosion essentially ruined -- or , rather , overpowered


an engrossing portrait


is genial but never inspired , and little


tackles more than she can handle .


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


nothing wrong with performances here , but the whiney characters bugged me .


proves to be sensational


to entertain


pathetic exploitation film


joys in our lives


the triumph


of sincere grief and mourning in favor of bogus spiritualism


unspeakable , of course , barely begins to describe the plot and its complications .


did n't convince me that calvin jr. 's barbershop represents some sort of beacon of hope in the middle of chicago 's south side


laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances , no such thing is a fascinating little tale .


seems hopelessly juvenile .


a frighteningly fascinating contradiction


an unpleasant debate that 's been given the drive of a narrative and that 's been acted out


equally assured


have a story and a script


's a work of enthralling drama


predictable as the tides


did no one on the set have a sense of humor ,


the film , while it 's not completely wreaked , is seriously compromised by that


's a wonderful , sobering , heart-felt drama


saves


uncompromising film


for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull


all the dramatic weight


will wind up as glum as mr. de niro .


bracing truth


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


even if it is generally amusing from time to time , i spy has all the same problems the majority of action comedies have .


the movie winds up feeling like a great missed opportunity .


of dead-end distaste


tells its poignant and uplifting story in a stunning fusion of music and images .


good actors , even kingsley , are made to look bad


young everlyn sampi , as the courageous molly craig , simply radiates star-power potential in this remarkable and memorable film .


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


does a solid job


poor editing , bad bluescreen ,


lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile


boring


believe anyone would really buy this stuff


lighthearted glow


that there 's really not much of a sense of action


just another combination of bad animation and mindless violence ...


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


offer a fascinating glimpse


illuminates what it means sometimes to be inside looking out , and at other times outside looking in .


want to think too much about what 's going on


narc


sub-sophomoric


languorous charm


style and flash


thematic content and narrative strength


a moral


that gives movies about ordinary folk a bad name


is he has no character , loveable or otherwise


the irwins ' scenes are fascinating ; the movie as a whole is cheap junk and an insult to their death-defying efforts .


too much power , not enough puff .


nothing overly original , mind you , but solidly entertaining


is presented with great sympathy and intelligence


brainless flibbertigibbet


nonchalantly freaky and uncommonly pleasurable


has thankfully ditched the saccharine sentimentality of bicentennial man in favor of an altogether darker side .


have a good shot at a hollywood career


have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies


presented in convincing way


have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for


has its rewards .


she may not be real , but the laughs are .


critical backlash


is a much better mother-daughter tale


successfully


long , intricate , star-studded


for a touching love story


of self-discovery handled with such sensitivity


an audience 's


the best 60 minutes


overcooked , ham-fisted direction


settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion .


numbingly dull


entirely suspenseful , extremely well-paced and ultimately ... dare i say , entertaining !


pay your $ 8 and get ready for the big shear


served with a hack script


fest that 'll put hairs on your chest .


past a child 's interest and an adult 's patience


innocent ,


affable if not timeless


an empty , purposeless


knew about generating suspense


bitten off more than he or anyone else could chew


love


works on some levels


reveals itself slowly , intelligently ,


just did n't care


the one-liners are snappy , the situations volatile


trouble every day is a success in some sense


lame


the world 's greatest teacher


fiery


game supporting cast


laborious whine , the bellyaching of a paranoid and unlikable man


a dearth of vitality


a text to ` lick


... a solid , well-formed satire .


without thrills and a mystery devoid


playful but highly studied


fails to portray its literarily talented and notorious subject as anything much more than a dirty old man


it 's leaden and predictable , and


other hallmarks of his personal cinema painted on their largest-ever historical canvas


ailments


could be the worst film a man has made about women since valley of the dolls .


there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .


as good


retains an extraordinary faith in the ability of images


salvation and good intentions


, the film gets added disdain for the fact that it is nearly impossible to look at or understand .


does his sly , intricate magic


boasts enough funny dialogue and sharp characterizations to be mildly amusing .


could n't have done any better in bringing the story of spider-man to the big screen .


it feels like unrealized potential


, laugh-a-minute crowd pleaser


memorable for a peculiar malaise that renders its tension flaccid and , by extension , its surprises limp and its resolutions ritual


beautifully choreographed kitchen ballet


as though jay roach directed the film from the back of a taxicab


new inspiration in it


retread ,


'll find yourself remembering this refreshing visit to a sunshine state .


a bit disjointed


dismally


grows up


a few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed , but skeptics are n't likely to enter the theater .


you have to see it .


, meandering


humorous and touching


that so many people put so much time and energy into this turkey


was the best the contest received


is the kind of movie that gets a quick release before real contenders arrive in september


it finds a nice rhythm .


it 's not so much a movie as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil ' bow wow .


settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion


drains it


is even worse than i imagined a movie ever could be


without resorting to camp or parody , haynes ( like sirk , but differently ) has transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange .


this rush to profits has created a predictably efficient piece of business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you had n't seen , which , in this day and age , is of course the point .


ever so gracefully --


funny and touching


is intelligently accomplished


has a delightfully dour , deadpan tone and stylistic consistency .


low comedy does n't come much lower .


a comedy


of martin scorsese 's taxi driver and goodfellas


a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people


to capture the chaos of france in the 1790 's


sensation


all by stuffing himself into an electric pencil sharpener


there may have been a good film in `` trouble every day , ''


the material and the production


my mind


beautiful , angry and sad


heavy stench


tastelessness and


bubbly


has a way of seeping into your consciousness ,


what 's most offensive


daughter


enjoyable 100 minutes


've looked like as a low-budget series on a uhf channel


unfortunately , we 'd prefer a simple misfire .


in the ease with which it integrates thoughtfulness and pasta-fagioli comedy


strained caper movies that 's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .


whimsical comedy


is n't mainly suspense or excitement .


by splendid performances


a winning and wildly fascinating work .


and second , what 's with all the shooting ?


other , better movies


a wartime farce in the alternately comic and


best


occasionally flawed ,


admirable energy


is funny , touching , smart and complicated


maladjusted teens in a downward narcotized spiral


when you 've got the wildly popular vin diesel in the equation , it adds up to big box office bucks all but guaranteed .


and two smoking barrels


value or merit


that 's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media


different , unusual , even nutty


, nasty journey


a maddeningly insistent and repetitive piano score that made me want to scream


dumped a whole lot of plot


undisciplined


production exists only to capitalize on hopkins ' inclination to play hannibal lecter again , even though harris has no immediate inclination to provide a fourth book


is painfully bad ,


strange film


despite the mild hallucinogenic buzz , is of overwhelming waste


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


premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper .


a kilt


recommend it ,


does n't live up to the exalted tagline


it ca n't help but engage an audience


a life interestingly lived


, this might not seem like the proper cup of tea , however it is almost guaranteed that even the stuffiest cinema goers will laugh their *** off for an hour-and-a-half .


bombastic and ultimately empty world war ii action


sweet and believable


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


full of surprises


the humor has point


cheesy commercialism


is on full , irritating display


a first-class road movie that proves you can run away from home , but your ego


in the way of a too-conscientious adaptation


there 's nothing like love to give a movie a b-12 shot ,


director douglas mcgrath takes on nickleby with all the halfhearted zeal of an 8th grade boy delving into required reading .


rarely has a film 's title served such dire warning .


an action film disguised as a war tribute is disgusting to begin with


the movie about the baseball-playing monkey was worse . ''


're going to feel like you were n't invited to the party


it is different from others in its genre in that it is does not rely on dumb gags , anatomical humor , or character cliches ;


sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .


one ca n't help but be drawn in by the sympathetic characters


a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances


belongs to nicholson


and if you appreciate the one-sided theme to lawrence 's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest .


the well-wrought story


gets an exhilarating new interpretation in morvern callar


perfectly serviceable and because he gives the story some soul


nosedive


we never feel anything for these characters , and as a result the film is basically just a curiosity


just another situation romance


, this cartoon adventure is that wind-in-the-hair exhilarating .


gawky actor


works as pretty contagious fun .


on `` stupid ''


makes it all the more compelling .


enjoyable big movie


braveheart as well as


it 's as if allen , at 66 , has stopped challenging himself .


this kind of hands-on storytelling


pure hollywood


character portrait , romantic comedy


not a stereotype is omitted nor a cliché left unsaid .


is nothing compared to the movie 's contrived , lame screenplay and listless direction


would n't be too crazy with his great-grandson 's movie splitting up in pretty much the same way .


valiantly


if it is generally amusing from time to time


a biting satire


literally


no big whoop , nothing new to see ,


tragically


a small gem from belgium .


a tendency to sag in certain places


simply radiates star-power potential in this remarkable and memorable film .


necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy


wind up as glum as mr. de niro


little propaganda film


a great director


wonder of wonders -- a teen movie with a humanistic message .


become almost as operatic to us


the picture is so lovely toward the end


accompanying the stunt-hungry dimwits in a random series of collected gags , pranks , pratfalls , dares , injuries , etc .


it works well enough , since the thrills pop up frequently , and the dispatching of the cast is as often imaginative as it is gory


perfectly


a bad run


the performances are amiable and committed ,


elicits strong performances from his cast


brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing


wicked


fontaine 's direction , especially her agreeably startling use of close-ups and her grace with a moving camera , creates sheerly cinematic appeal .


isabelle huppert ... again shows uncanny skill in getting under the skin of her characters


a sobering and powerful documentary about the most severe kind of personal loss :


this insufferable movie


each scene drags , underscoring the obvious


, we get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos .


a sharp , amusing study of the cult of celebrity


nutty cliches


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


ingenuity


the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action


a coma


a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get


working women -- or at least this working woman -- for whom she shows little understanding


noir veil


this is a shrewd and effective film from a director who understands how to create and sustain a mood .


as mindless


far from heaven is a dazzling conceptual feat , but more than that , it 's a work of enthralling drama .


are such that we 'll keep watching the skies for his next project


inhuman


joyous life


movie directionless


like a change in ( herzog 's ) personal policy


unfolds as one


bungle their way


a few laughs but nothing else


adds up to big box office bucks all but guaranteed .


marvel


coming-of-age drama


buoyant romantic comedy


you only need to watch for about thirty seconds before you say to yourself , ` ah , yes


the only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie .


warm , moving


so exaggerated and broad


that stalls in its lackluster gear of emotional blandness


( ferrera ) has the charisma of a young woman who knows how to hold the screen .


honestly , i do n't see the point


the best brush in the business


to a more mythic level


hits its mark


is remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots ( or cinema seats ) .


who might otherwise go unnoticed and underappreciated by music fans


do n't think so .


represents the worst kind of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy


comes along only occasionally , one so unconventional , gutsy and perfectly


him this year 's razzie


of the solomonic decision facing jewish parents in those turbulent times


it 's one tough rock .


a staggeringly compelling character


to create an engaging story that keeps you guessing at almost every turn


every bit as imperious as katzenberg 's the prince of egypt from 1998 .


a mawkish self-parody


not only is entry number twenty the worst of the brosnan bunch


stylish but steady , and ultimately very satisfying ,


for a story set at sea , ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises . '


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


because of its broad racial insensitivity towards african-americans


without context -- journalistic or historical


- she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff


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


some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) -


soft-core twaddle


there 's a delightfully quirky movie to be made from curling , but brooms is n't it .


, and motorcycles


succeeds due to its rapid-fire delivery and enough inspired levity that it ca n't be dismissed as mindless .


little too obvious , but


dragonfly


created a breathtakingly assured and stylish work of spare dialogue and acute expressiveness


almost generic


the goodwill the first half of his movie generates by orchestrating a finale that is impenetrable and dull


it 's got all the familiar bruckheimer elements , and schumacher does probably as good a job as anyone at bringing off the hopkins/rock collision of acting styles and onscreen personas .


entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .


on its own staggeringly unoriginal terms , this gender-bending comedy is generally quite funny .


, this cinderella story does n't have a single surprise up its sleeve .


that director sara sugarman stoops to having characters drop their pants for laughs and not the last time


mistaken-identity


a badly edited , 91-minute trailer ( and )


a harrison ford low


enlightened


's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep


a 10-course banquet


's a cool event for the whole family .


like most of jaglom 's films , some of it is honestly affecting ,


you should see this movie


of the best films of the year


you will enjoy seeing how both evolve


from her own screenplay , jumps to the head of the class of women 's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style


so purely enjoyable that you might not even notice it 's a fairly straightforward remake of hollywood comedies such as father of the bride .


for exploiting the novelty of the `` webcast


showcases davies as a young woman of great charm , generosity and diplomacy


one scene after another in this supposedly funny movie


thurman and lewis give what can easily be considered career-best performances


accurately


ruined by amateurish writing and acting ,


well-made pb & j sandwich


the blanket statements and dime-store ruminations


engages us


it looks like woo 's a p.o.w.


has turned out to be a one-trick pony


on three short films and two features


the results are honest


's nice


has a way of seeping into your consciousness , with lingering questions about what the film is really getting at


, inexplicable and unpleasant


a thriller without thrills and a mystery devoid of urgent questions


falls victim to that everlasting conundrum experienced by every human who ever lived : too much to do , too little time to do it in .


one of the most important and exhilarating forms of animated filmmaking since old walt doodled steamboat willie .


a quirky comedy


artful , watery tones of blue , green and brown


leaves an awful sour taste


this is cinema


a diverse and astonishingly articulate


the charm of the first movie is still there


by turns gripping , amusing , tender and heart-wrenching


's because relatively nothing happens


a gift to anyone who loves both dance and cinema


dies


this is the one .


one of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes of tenderness , loss , discontent , and yearning .


unacceptable


deepest tragedies


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


've got to hand it to director george clooney for biting off such a big job the first time out


the usual movie rah-rah , pleasantly and predictably delivered in low-key style by director michael apted and writer tom stoppard .


one of the great minds of our times


audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching


an intense and effective film about loneliness and the chilly anonymity of the environments where so many of us spend so much of our time


that effortlessly draws you in


the fluid motion is astounding on any number of levels -- including the physical demands made on büttner -- and


colorful , energetic and sweetly whimsical ... the rare sequel that 's better than its predecessor .


climactic


really does n't have much to say beyond the news


the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .


more outre aspects


evans is no hollywood villain


a loss


can drown out the tinny self-righteousness of his voice


falling in love


tremendously moving


will leave you wanting to abandon the theater .


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


spaces


a very good ( but not great ) movie


funny , insightfully human


visually engrossing


a fascinating , unnerving examination of the delusions


on standard horror flick formula


glum as mr. de niro


extremely well acted by the four primary actors


the universal themes ,


collateral damage is trash


makes all the difference


gentle , lapping rhythms


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


using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater .


funny , sexy , and rousing


is a pretty good job


visualize schizophrenia


scenic shots


'' will leave you wanting to abandon the theater .


return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market .


that celebi could take me back to a time before i saw this movie


making such a tragedy the backdrop to a love story risks trivializing it , though chouraqui no doubt intended the film to affirm love 's power to help people endure almost unimaginable horror .


fascinating , ludicrous , provocative and vainglorious


has made a movie that will leave you wondering about the characters ' lives after the clever credits roll


too cynical


spooky and subtly


into a classic genre


is too busy getting in its own way to be anything but frustrating , boring , and forgettable


up walking out not only satisfied but also somewhat touched


the plot seems a bit on the skinny side


accompanied by the sketchiest of captions .


melodramatic paranormal romance is an all-time low for kevin costner .


's something of the ultimate scorsese film


a more annoying , though


loathe him


hell , i dunno


for two directors with far less endearing disabilities


if mostly martha is mostly unsurprising , it 's still a sweet , even delectable diversion .


beautiful


enhanced by a surplus of vintage archive footage


is that it progresses in such a low-key manner that it risks monotony .


analyze this movie in three words : thumbs friggin ' down


-- a film less about refracting all of world war ii through the specific conditions of one man , and more about that man


makes these lives count .


trudge out


all the stronger


an improvement


lush and beautifully photographed ( somebody suggested the stills might make a nice coffee table book ) , but ultimately you 'll leave the theater wondering why these people mattered .


constantly slips from the grasp of its maker .


never succeed in really rattling the viewer


sub-par


bad film


, the film would be a total washout .


it would be nice to see what he could make with a decent budget


the bizarre is credible


have potential as a cult film ,


none of the charm and little


to be significantly different ( and better ) than most films with this theme


beautifully produced .


a thoroughly modern maiden


evelyn may be based on a true and historically significant story , but the filmmakers have made every effort to disguise it as an unimaginative screenwriter 's invention .


born to make


gets its greatest play


spectacular belly flops


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


cheesy


was , as my friend david cross would call it , ` hungry-man portions of bad '


a mildly funny , sometimes tedious , ultimately insignificant


the actors are fantastic .


has the twinkling eyes , repressed smile and


a caffeinated , sloppy brilliance ,


for most movies , 84 minutes is short , but


accurate


, the film never succumbs to the trap of the maudlin or tearful , offering instead with its unflinching gaze a measure of faith in the future .


the music makes a nice album , the food is enticing and


faith , love and power


their hearts in the right place


banality and hypocrisy


more evil than ever


wiseman is patient and


manage to keep things interesting .


noyce 's greatest mistake is thinking that we needed sweeping , dramatic , hollywood moments to keep us


is a lot more bluster than bite .


ponder the peculiar american style of justice that plays out here


wo n't be able to look away for a second


is top-notch


larger than life


filmed directly


corny sentimentality


i hate the feeling of having been slimed in the name of high art .


whimper


to see a movie with its heart


would make it a great piece to watch with kids and use to introduce video as art .


really wrong with this ricture


feels strangely hollow at its emotional core .


charm


's horribly depressing and not very well done


is n't exactly endearing


amazing breakthrough


they cheapen the overall effect .


so sloppy , so uneven , so damn unpleasant


irreverent energy


stay positive


finally seem so impersonal or even shallow


without fully understanding what it was that made the story relevant in the first place


some weird relative trots out the video he took of the family vacation to stonehenge


a sad aristocrat in tattered finery


get out your pooper-scoopers


a superfluous sequel


set in the world of lingerie models and bar dancers in the midwest that held my interest precisely because it did n't try to .


if the suspense never rises to a higher level , it is nevertheless maintained throughout


a feel-bad ending


there 's a sheer unbridled delight in the way the story unfurls ...


and more entertaining , too .


a certain sense of experimentation and improvisation to this film that may not always work


an irresistible blend


in reality it 's one tough rock .


captive by mediocrity


a snore and utter tripe


quite possibly the sturdiest example yet


schrader examines crane 's decline with unblinking candor .


begging for attention


are worth the price of admission ...


has never been more charming than in about a boy


it 's impossible to care who wins


the idiocy


the characters never seem to match the power of their surroundings .


aloof


a gut punch


may as well be called `` jar-jar binks : the movie .


is priceless


torture and self-mutilation


is an inspirational love story , capturing the innocence and idealism of that first encounter .


is nothing less than a provocative piece of work


even if you do n't know the band or the album 's songs by heart , you will enjoy seeing how both evolve , and you will also learn a good deal about the state of the music business in the 21st century .


loud and offensive , but more often


( the film ) works


multi-layers


is entertaining .


hit .


achieves a level of connection and concern


many tense scenes in trapped


frustration from those


seen in years


glinting charm


i 'm giving it a strong thumbs up


the act is still charming here .


an energetic and engaging film


is more accurate than anything


follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity


rekindle the magic of the first film


to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year


a tired , predictable , bordering on offensive , waste of time , money and celluloid .


cinematic poo .


should give `` scratch '' a second look .


have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else


may not be a great piece of filmmaking


it is impossible not to be awed by the power and grace of one of the greatest natural sportsmen of modern times .


personable , amusing


one-sided theme


worth revisiting


amusing sidekicks


has a sure hand .


showing honest emotions .


historical truth and realism


, it revigorates the mind to see a feature that concentrates on people , a project in which the script and characters hold sway .


the reassuring manner of a beautifully sung holiday carol


you 'll feel like you ate a reeses without the peanut butter ... '


donna


deserve better


realize , much to our dismay ,


more valuable


a light touch


explores the awful complications of one terrifying day


offers an interesting look at the rapidly changing face of beijing


a chilling tale of one


the movie around them is so often nearly nothing that their charm does n't do a load of good


unlikable , uninteresting , unfunny , and


make this surprisingly decent flick


the rhapsodic dialogue


`` unfilmable '' novels


way too full of itself


not engaging


addictive guilty pleasure


fun and funny in the middle , though somewhat less


does manage to make a few points about modern man and his problematic quest for human connection


a shimmeringly lovely coming-of-age portrait , shot in artful , watery tones of blue , green and brown .


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


a movie filled with unlikable , spiteful idiots


dumb gags , anatomical humor , or


of watching sad but endearing characters do extremely unconventional things


add up to little more than a screenful of gamesmanship that 's low on both suspense and payoff


skip but film buffs should get to know


yale grad


may not always work


how to suffer '


the biggest disappointments


make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm


from pleasing


a canny crowd pleaser


the four feathers is definitely horse feathers


infatuated


are so well


sleep or bewildered by the artsy and often pointless visuals


being stupid


a self-hatred instilled


of its lurid fiction


fire a torpedo through some of clancy 's holes


is even more embracing than monty , if only because it accepts nasty behavior and severe flaws as part of the human condition


to regain his life , his dignity and his music


deadly dull


any viewer , young or old ,


lots of effort and intelligence are on display but in execution it is all awkward , static , and lifeless rumblings .


ill-conceived and


skillfully weaves both the elements of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise .


of this reactionary thriller


jolts the laughs


this cold vacuum of a comedy to start a reaction


steals the show


it other than its exploitive array of obligatory cheap


shrewd enough to activate girlish tear ducts does n't mean it 's good enough for our girls


by turns pretentious , fascinating , ludicrous , provocative and vainglorious .


the computer and


of inspired humor


11 times too many


delivered with such conviction


seen it all before ,


every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny


the universal theme


laughing at the ridiculous dialog or the oh-so convenient plot twists


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


we feel that we truly know what makes holly and marina tick


harris is affecting at times


's a pale imitation .


casting excellent latin actors of all ages --


knew what the hell was coming next


the beat he hears in his soul


to do justice to either effort in three hours of screen time


lovely , sad dance


that tries to be smart


the script , the gags , the characters are all direct-to-video stuff , and that 's where this film should have remained .


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


turns in a collectively stellar performance


seems timely and important


falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy


a great deal of corny dialogue and preposterous moments


lionize its title character and exploit his anger


but it does have one saving grace .


a more credible script , though


this overlong infomercial , due out on video before month 's end , is tepid and tedious .


gives these women a forum to demonstrate their acting ` chops '


it 's up to ( watts ) to lend credibility to this strange scenario , and her presence succeeds in making us believe .


offers instead an unflinching and objective look at a decidedly perverse pathology


ruins every single scene he 's in


cannon 's confidence and laid-back good spirits


an intriguing story of maternal instincts and


immensely entertaining


's absolutely amazing


make several runs to the concession stand and/or restroom


thoughtful and


was entranced .


a surprisingly ` solid ' achievement by director malcolm d. lee and writer john ridley .


a movie that defies classification and is as thought-provoking as it


good dialogue


lighthearted comedy


roman polanski may have been born to make


make trouble


michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and


will probably have a reasonably good time with the salton sea


pretty listless


filmmaking without the balm of right-thinking ideology , either liberal or conservative


is n't nearly as funny as it thinks it is


does little


long on twinkly-eyed close-ups and short


is way too indulgent


tries its best to hide the fact that seagal 's overweight and out of shape


one of the year 's most intriguing movie experiences


from cheap-shot mediocrity


's also one of the smartest


hoffman 's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses --


color and creativity


the script , the gags , the characters are all direct-to-video stuff


road


gripping portrait of jim brown , a celebrated wonder in the spotlight


fixating on a far corner of the screen at times


wide-eyed


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


an effortlessly accomplished and richly resonant work .


devastatingly powerful and astonishingly vivid holocaust drama


raise audience 's spirits


freaking out


nerds


create characters


work -- is charming ,


started doing nothing but reacting to it - feeling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visual delights


lyrical tale probes the ambiguous welcome extended by iran to the afghani refugees who streamed across its borders , desperate for work and food .


brainless , but enjoyably over-the-top , the retro gang melodrama , deuces wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism .


looks good


orchestrating


ever knew about generating suspense


can both maintain and dismantle the facades that his genre and his character construct is a wonderous accomplishment of veracity and narrative grace


's quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer .


of a self-reflexive , philosophical nature


loses its fire midway ,


( russell ) makes good b movies ( the mask , the blob )


begins to resemble the shapeless ,


's just plain lurid when it is n't downright silly .


that hollywood expects people to pay to see it


depict the french revolution


a fascinating character study with laughs


is one of the greatest date movies in years .


the long and eventful spiritual journey


to believe that a life like this can sound so dull


allows us to forget that they are actually movie folk


its excellent storytelling


likes of which mainstream audiences have rarely seen


a revealing look


positive ( if tragic ) note


flowery


change watching such a character ,


storytelling ability


gloom


emotional car-wreck


the auditorium feeling dizzy , confused , and totally disorientated


is undeniably subversive and involving in its bold presentation


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


what debt miramax felt they owed to benigni


the disjointed mess flows as naturally as jolie 's hideous yellow ` do .


changing lanes tries for more .


bitchy frolic


expressively performed


mr. rose 's updating works surprisingly well .


an encouraging effort


alarms for duvall 's throbbing sincerity and his elderly propensity for patting people while he talks .


how a rich historical subject , combined with so much first-rate talent ... could have yielded such a flat , plodding picture


no laughs


high-powered star pedigree


without passion or politics


being a good documentarian


while the importance of being earnest offers opportunities for occasional smiles and chuckles


makes its point


the corniest


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


this is a truly , truly bad movie .


drama , conflict ,


protagonist


the only way for a reasonably intelligent person to get through the country bears


a scary , action-packed chiller


the film boasts at least a few good ideas and features some decent performances


mark pellington 's latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth .


relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft .


touch


tried hard


intimate , unguarded moments


it borders on facile


important political documentary


a little better than sorcerer 's stone .


a heroic tale


is intriguing


never springs to life


devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity


is full of charm .


own breezy , distracted rhythms


ironic cultural satire


hatfield and hicks make the oddest of couples , and in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications .


stevens ' vibrant creative instincts


in short


devos


lovingly photographed in the manner of a golden book sprung to life


strong and confident


if routine action and jokes like this are your cup of tea


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


some corny television


to realize that as far as these shootings are concerned , something is rotten in the state of california


bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie


but a very handsomely produced let-down


trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain


that transcends culture and race


come to care about the main characters


self-conscious but often hilarious


after all , he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .


( and probably should have )


other than a mildly engaging central romance , hospital is sickly entertainment at best and mind-destroying cinematic pollution at worst .


off with an inauspicious premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper .


think of this dog of a movie as the cinematic equivalent of high humidity


it was , as my friend david cross would call it , ` hungry-man portions of bad '


with any viewer forced to watch him try out so many complicated facial expressions


that the movie has no idea of it is serious or not


-- as long as you 're wearing the somewhat cumbersome 3d goggles


philosophers , not filmmakers


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 .


the spectacle


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


's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful .


represents an auspicious feature debut for chaiken


the choppy editing


that you hope britney wo n't do it one more time , as far as


it 's so poorly made , on all levels , that it does n't even qualify as a spoof of such


even sexy


that will thrill you , touch you and make you


acting -- more accurately , it 's moving


adaptation is intricately constructed and


` triumph '


accomplishes in his chilling , unnerving film


has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story


astounding


may ... work as a jaunt down memory lane for teens and young adults who grew up on televised scooby-doo shows or reruns .


remembering this refreshing visit


of expository material


its own most damning censure


the story is a rather simplistic one : grief drives her , love drives him , and a second chance to find love in the most unlikely place - it struck a chord in me .


this properly intense , claustrophobic tale of obsessive love


costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and


one of the best of a growing strain of daring films


the cultural and economic subtext , bringing richer meaning to the story 's morals


particular interest


, despite downplaying her good looks , carries a little too much ai n't - she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff .


tribute


has the right stuff for silly summer entertainment and has enough laughs to sustain interest to the end


ian holm conquers france as an earthy napoleon


terminally bland , painfully slow and


have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for .


one of the great minds of our times interesting and accessible


the biggest names in japanese anime , with impressive results


the characters are based on stock clichés , and the attempt to complicate the story only defies credibility


loves the members of the upper class almost as much as they love themselves


passive-aggressive psychology


manages to be wholesome and subversive at the same time .


stifles creativity and


... if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you 're in for a painful ride .


because of its music or comic antics , but through the perverse pleasure of watching disney scrape the bottom of its own cracker barrel


fewer deliberate laughs , more inadvertent ones and stunningly trite


for all of us


clear-eyed chronicle


this trifling romantic comedy in which opposites attract for no better reason than that the screenplay demands it squanders the charms of stars hugh grant and sandra bullock .


a manically generous christmas vaudeville .


so much more


to have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release


richly detailed , deftly executed and


though nijinsky 's words grow increasingly disturbed , the film maintains a beguiling serenity and poise that make it accessible for a non-narrative feature .


the film is visually dazzling


once amusing


sex with strangers


a generic international version of a typical american horror film


ugly and mindless


meaty subject


obvious political insights


that parker displays in freshening the play


that it might as well have been titled generic jennifer lopez romantic comedy


would require many sessions on the couch of dr. freud


as a masterfully made one


the characters are more deeply thought through than in most ` right-thinking ' films .


it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema


is more like something from a bad clive barker movie .


a sweet-tempered comedy that forgoes the knee-jerk misogyny that passes for humor in so many teenage comedies .


's hard to imagine acting that could be any flatter .


has a lot to do with the casting of juliette binoche as sand , who brings to the role her pale , dark beauty and characteristic warmth


very very strong


this cinderella story does n't have a single surprise up its sleeve .


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


oddly colorful


every shot enhances the excellent performances


to feel good about


the throes of their first full flush of testosterone


jacquot 's strategy allows his cast the benefit of being able to give full performances ... while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself .


of its oscar nomination


both sitcomishly predictable and cloying in its attempts


sets itself apart by forming a chain of relationships that come full circle to end on a positive ( if tragic ) note


very funny , very enjoyable ...


the proficient , dull sorvino has no light touch , and rodan is out of his league


of his best-known creation


toback 's deranged immediacy makes it seem fresh again .


's technically sumptuous but also almost wildly alive .


steers refreshingly clear of the usual cliches


` stoked


too much


... if it had been only half-an-hour long or a tv special , the humor would have been fast and furious -- at ninety minutes , it drags .


lots of boring talking heads , etc .


little less bling-bling


an original bone


good , hard-edged stuff


cannon 's confidence and


has a film 's title served such dire warning


a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title


demonstrate that his pathology evolved from human impulses that grew hideously twisted


compelling french psychological drama


marinated in clichés and mawkish dialogue


like the longest 90 minutes of your movie-going life


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


metaphysical


in the art of impossible disappearing/reappearing acts


do n't blame eddie murphy but


the redeeming feature


kissing jessica stein is one of the greatest date movies in years .


those who want to be jolted out of their gourd should drop everything and run to ichi .


astronomically bad


in the front ranks of china 's now numerous , world-renowned filmmakers


feels less like a cousin to blade runner than like a bottom-feeder sequel in the escape from new york series .


to string together enough charming moments to work


a purpose and a strong pulse


sensuality , and


at least it 's better than that eponymous 1980 biopic that used soap in the places where the mysteries lingered


young , black manhood that is funny , touching , smart and complicated


, it 's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires .


suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener


this slender plot feels especially thin stretched over the nearly 80-minute running time .


what a pity ... that the material is so second-rate .


living far too much


fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .


riveting performances


on hammy at times


means check it out .


desperately wishing you could change tables


and finely cut diamond


convincing one


the unique niche of self-critical , behind-the-scenes navel-gazing kaufman has carved from orleans ' story


heavy-handed symbolism , dime-store psychology and


... a good film that must have baffled the folks in the marketing department .


turn stupid


work , especially since the actresses in the lead roles are all more than competent


emotional gravity


flawed ,


would sink laurence olivier


a bad movie


( fincher 's ) camera sense and assured pacing make it an above-average thriller .


marvelous documentary touches -- ever so gracefully --


it 's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original .


cusack 's just brilliant in this .


hokey


the shameless self-caricature of ` analyze this ' ( 1999 )


, '' derrida is an undeniably fascinating and playful fellow .


the food is enticing


broken


bit of piffle .


the idea of why human beings long for what they do n't have , and how this gets us in trouble


the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey .


substantial depth


drowsy


warm and well-told tale


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


of faith


are fun and reminiscent of combat scenes


how ridiculous and money-oriented


is quite a vision .


immediate inclination to provide a fourth book


original film


of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old ,


stretched over the nearly 80-minute running time


to convey a sense of childhood imagination


for an all-around good time at the movies this summer


it does n't matter that the film is less than 90 minutes .


into a laugh-free lecture


does not have , beginning with the minor omission of a screenplay


, gut-clutching piece


somewhat backhanded


epic scope


in any way demeaning its subjects


caught up in an intricate plot


worth the journey


have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .


a full-length classic


a muddled limp biscuit


enduring


a lost ideal


sharper , cleaner


depressingly retrograde


the subtitles fool you


be an enjoyable choice for younger kids


another run-of-the-mill disney sequel intended for the home video market


ultimately delivers


is strong as always .


would be like to be smack in the middle of a war zone armed with nothing but a camera


soap-opera


an intelligent , multi-layered and profoundly humanist ( not to mention gently political ) meditation on the values of knowledge , education , and the


surprising romance


off-puttingly


sporadic dips


best script


und drung , but explains its characters ' decisions only unsatisfactorily .


action clichés


a companionable couple


the more hackneyed elements of the film easier to digest


big fat liar is little more than home alone raised to a new , self-deprecating level .


for the ridicule factor


is so prolonged and boring


the margin that gives viewers a chance to learn , to grow , to travel


chaos


is familiar but enjoyable .


been smoother or more confident


made me want to pack raw dough in my ears .


, purposeless


is easily


riveted with every painful nuance , unexpected flashes of dark comedy and the character 's gripping humanity


enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film and stage adaptations of the work


it takes you somewhere you 're not likely to have seen before , but beneath the exotic surface ( and exotic dancing ) it 's surprisingly old-fashioned .


teenage sex comedy


rick


, rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer


unsung heroes


that takes too long to shake


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


could hardly ask for more .


you shoot something on crummy-looking videotape


in which a guy dressed as a children 's party clown gets violently gang-raped


one of the smartest


was right to cut


has created a beautiful canvas


's a very very strong `` b + .


further sad evidence that tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap .


it fails


storytelling is far more appealing


it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you .


when it is n't merely offensive


is a must for genre fans .


it never bothers to question why somebody might devote time to see it


a more confused , less interesting and more sloppily made film could possibly come down the road in 2002


the young stars are too cute ;


the director , with his fake backdrops and stately pacing , never settles on a consistent tone .


personal low


the most multilayered and sympathetic female characters of the year


is sappy and amateurish


are very expressive .


alone , should scare any sane person away .


turning in some delightful work on indie projects


his most sparkling


quickly writes himself into a corner


career - kids = misery


emaciated


kiddie entertainment ,


not only better


of the idealistic kid who chooses to champion his ultimately losing cause


from this choppy and sloppy affair


is smart , not cloying .


inquisitive film


's a spectacular performance - ahem


career-defining


is painfully foolish in trying to hold onto what 's left of his passe ' chopsocky glory


like the full monty , this is sure to raise audience 's spirits and leave them singing long after the credits roll .


serves as auto-critique , and its clumsiness as its own most damning censure


frustrating and


canada 's arctic light


pretty much sucks , but has a funny moment or two .


any scorsese


make mel brooks ' borscht belt schtick look sophisticated


rich


but it would be better to wait for the video .


this is a heartfelt story ... it just is n't a very involving one .


of extravagant


, an archetypal desire to enjoy good trash every now and then .


choppy and


, it 'll only put you to sleep .


like the original , this version is raised a few notches above kiddie fantasy pablum by allen 's astringent wit .


moonlight mile does n't quite go the distance but


about movie love


it could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened


they 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid .


hugely enjoyable in its own right though


a bigger-name cast


crafted a solid formula for successful animated movies


everyone making it


soderbergh 's best films


coming-of-age film


been deemed important enough to make a film in which someone has to be hired to portray richard dawson


actually manages to bring something new into the mix


having fun with it all


smeary


of making kahlo 's art a living , breathing part of the movie , often catapulting the artist into her own work


fosters moments of spontaneous intimacy


the acting is amateurish , the cinematography is atrocious ,


terrible as the synergistic impulse that created it


this odd , poetic road movie , spiked by jolts of pop music ,


charged


is extremely funny , the first part making up for any flaws that come later


to say that this vapid vehicle is downright doltish and uneventful


satin rouge is not a new , or inventive , journey


self-consciously flashy camera effects


a dim-witted pairing of teen-speak and animal gibberish


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


cold-hearted


existential suffering


its ripe recipe , inspiring ingredients


meticulously uncovers a trail of outrageous force and craven concealment .


would be consigned to the dustbin of history


a thriller whose style , structure and rhythms are so integrated with the story


the wonderfully lush morvern callar


the movie is hardly a masterpiece


clichéd


stays close to the ground


hated myself in the morning .


it 's provocative stuff , but the speculative effort is hampered by taylor 's cartoonish performance and the film 's ill-considered notion that hitler 's destiny was shaped by the most random of chances .


know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money


, yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .


interesting and at times


swaggers through his scenes


cinematic tone poem


another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt


make a film in which someone has to be hired to portray richard dawson


inherently caustic and


that it 's too close to real life to make sense


it 's light on the chills and heavy on the atmospheric weirdness ,


winds up feeling like a great missed opportunity


forgive its mean-spirited second half


not funny performers


is a lame kiddie flick


thoroughly overbearing


that are lean and tough enough to fit in any modern action movie


two hours of junk


successes


and revolutionary spirit


dramatically lackluster


remarkably faithful one


considering that baird is a former film editor , the movie is rather choppy .


as good as the full monty , but a really strong second effort .


no surprises .


is oppressively heavy


somewhat less


are moments of hilarity to be had


nutty cliches and far too much dialogue


welcomed


a formula that worked five years ago but has since lost its fizz


an unexpectedly sweet story of sisterhood .


washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell


with some real shocks in store for unwary viewers .


live-action cartoon


useless actioners


uneven dialogue and plot lapses


a deliberative account of a lifestyle characterized by its surface-obsession -- one that typifies the delirium of post , pre , and extant stardom .


tries so hard to be quirky and funny that the strain is all too evident


virtually no one


still-inestimable contribution


that not only would subtlety be lost on the target audience


while we delight in the images


may sound like it was co-written by mattel executives and lobbyists for the tinsel industry


fascinating part


it should have stayed there .


smart , funny look


walk to remember a niche hit


hole-ridden plotting


lost in the translation


seems twice as long as its 83 minutes


it 's hard to imagine another director ever making his wife look so bad in a major movie .


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 .


disconnects


amazingly evocative


weird that i honestly never knew what the hell was coming next


have a résumé loaded with credits like `` girl in bar # 3


viscerally exciting , and dramatically moving


whose legacy had begun to bronze


extant stardom


's not going to be everyone 's bag of popcorn


bibbidy-bobbidi-bland .


soulless .


dragons !


been replaced by the bottom of the barrel


an increasingly important film industry


hip-hop fan to appreciate scratch


hilarious and sad


involving than this mess


are lukewarm and quick to pass .


poorly


captivating


integrity


cardiac


is an inexpressible and drab wannabe looking for that exact niche .


an excuse


most awful acts


is so clumsily sentimental


whiney


be cutting-edge indie filmmaking


imposter makes a better short story than it does a film


of musical passion


this obscenely bad dark comedy


wal-mart budget


a rather thin moral


misfire that even tunney ca n't save .


fully formed


, from the incongruous but chemically


how ridiculous and money-oriented the record industry really is


through this sloppy , made-for-movie comedy special


from a summer of teen-driven , toilet-humor codswallop


of a physician who needs to heal himself


any way of gripping what its point is


with humor and poignancy


muy loco


giving it thumbs down due to the endlessly repetitive scenes of embarrassment


the variety of tones in spielberg 's work


cut through the layers of soap-opera emotion


no `` waterboy


manipulative claptrap


cast the magnificent jackie chan


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


is an undeniably worthy and devastating experience


steers refreshingly clear of the usual cliches .


slow for a younger crowd


moved to the edge of their seats by the dynamic first act


demonstrates a vivid imagination and an impressive style


appeared in 1938


susan sarandon , dustin hoffman and holly hunter ,


there done that


bring fresh , unforced naturalism to their characters


it 's not like having a real film of nijinsky ,


would have been better than the fiction it has concocted


sade achieves the near-impossible : it turns the marquis de sade into a dullard


's better than the phantom menace .


that nevertheless touches a few raw nerves


of four fine