lacking the slightest bit


waiting for dvd and just skipping straight to her scenes


overlong documentary about ` the lifestyle .


morbid


bore that tends to hammer home every one of its points .


ca n't swim represents an engaging and intimate first feature by a talented director to watch


to develop her own film language with conspicuous success


long overdue


capturing the opera 's drama and lyricism


wander into the dark areas of parent-child relationships


silliness and


's definitely an improvement on the first blade , since it does n't take itself so deadly seriously


on a positive ( if tragic ) note


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


save oleander 's uninspired story


found the movie as divided against itself as the dysfunctional family it portrays


winking social commentary


making dog day afternoon with a cause


fire a torpedo


it 's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure .


to affirm love 's power to help people endure almost unimaginable horror


is a touching reflection on aging , suffering and the prospect of death


a bit on the skinny side


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


though it goes further than both , anyone who has seen the hunger or cat people will find little new here ,


happiness


's best served cold


this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree


mctiernan 's remake may be lighter on its feet


faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a


yet in its own aloof , unreachable way it 's so fascinating you wo n't be able to look away for a second .


attract and sustain an older crowd


make the film 's conclusion powerful and satisfying


small , human moments


imaginative teacher


it --


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


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


is ... very funny as you peek at it through the fingers in front of your eyes .


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


to keep the film entertaining


characters are both overplayed and exaggerated


the sheer dumbness of the plot ( other than its one good idea ) and the movie 's inescapable air of sleaziness get you down .


are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze


irresponsible


a disservice


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


cultural and personal self-discovery and


the vampires


an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine


despite lagging near the finish line , the movie runs a good race , one that will have you at the edge of your seat for long stretches . '


here his sense of story and his juvenile camera movements smack of a film school undergrad


this three-hour endurance test built around an hour 's worth of actual material


glib but bouncy


harrison ford low


rock solid family fun out of the gates , extremely imaginative through out


the plot is both contrived and cliched


old ` juvenile delinquent ' paperbacks with titles


return to never land is much more p.c. than the original version ( no more racist portraits of indians , for instance ) , but the excitement is missing


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


may be more genial than ingenious , but it gets the job done


a measure of style


plain crap


when her material is not first-rate


appealing


style and empathy


a pleasant distraction ,


pat storylines , precious circumstances


a tree


wide-smiling reception


a good line


he comes across as shallow and glib though not mean-spirited


groggy


the movie does n't generate a lot of energy .


a decent popcorn adventure


makes the same mistake as the music industry it criticizes , becoming so slick and watered-down it almost loses what made you love it


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


sorvino is delightful in the central role .


the worst movie of 2002


boisterous energy


with grace and panache


truly come to care about the main characters and whether or not they 'll wind up together


takes a potentially trite and overused concept ( aliens come to earth ) and


takes a fresh and absorbing look


generates plot points with a degree of randomness usually achieved only by lottery drawing .


what hibiscus grandly called his ` angels of light


venturesome , beautifully realized psychological mood piece


is beautiful filmmaking from one of french cinema 's master craftsmen .


of scene-chewing , teeth-gnashing actorliness


with laughs


intriguing and downright intoxicating .


do n't think most of the people who loved the 1989 paradiso will prefer this new version


of a good movie ye who enter here


love and humility


resembles an outline for a '70s exploitation picture


deliver a riveting and surprisingly romantic ride .


no clue about making a movie


gag two or three times


intoxicatingly sexy , violent , self-indulgent and maddening


of spontaneity in its execution and a dearth of real poignancy


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


gangster/crime comedy


precious little substance


a noticeable lack of pace


doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans


perception , conviction


be churlish to begrudge anyone for receiving whatever consolation


seen ( a remake ) do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic


i ca n't say it 's on par with the first one


my own minority report is that it stinks .


most politically audacious


the château is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot . '


close to real life


scare any sane person away


practically every facet of inept filmmaking


jell into charm


all add up to a satisfying crime drama .


is its unforced comedy-drama and its relaxed , natural-seeming actors


sulky


get your money back


so freely


, pretentious


of the avant-garde fused with their humor


it 's a beautiful film , full of elaborate and twisted characters - and it 's also pretty funny


an ironically killer soundtrack


never quite makes the grade as tawdry trash .


fascinating film


falls short in building the drama of lilia 's journey .


the dark places of our national psyche


the dry humor


that 's surprisingly short of both adventure and song


inside the wave


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


a calm , self-assured portrait


is achingly honest and delightfully cheeky .


inoffensive


rigor


as sharp


insufferably


exactly how genteel and unsurprising the execution turns out to be


of the ` laughing at ' variety than the ` laughing with


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


, miller digs into their very minds to find an unblinking , flawed humanity .


matters play out realistically if not always fairly .


courageousness


despite an impressive roster of stars and direction from kathryn bigelow


foremost cinematic poet


... a rather bland affair .


green ruins every single scene he 's in ,


steven spielberg brings us another masterpiece


done-to-death


it 's an effort to watch this movie , but


features fincher 's characteristically startling visual style and an almost palpable sense of intensity .


nothing about the film -- with the possible exception of elizabeth hurley 's breasts --


taking a hands-off approach when he should have shaped the story to show us why it 's compelling


an infinitely wittier version of the home alone formula .


plutonium


is a distinct rarity , and an event


heartfelt and achingly real


based on theory , sleight-of-hand , and ill-wrought hypothesis


all the small moments and flashbacks do n't add up to much more than trite observations on the human condition .


an earnest try at beachcombing verismo


yakusho , as always , is wonderful as the long-faced sad sack


should appeal to women


poor dana carvey


talky , artificial and opaque ... an interesting technical exercise , but a tedious picture


they need it to sell us on this twisted love story


frantic , virulent and foul-natured


magnificent jackie chan


a remarkably cohesive whole , both visually and thematically


: stallion of the cimarron is a winner .


richly rewarded


deadpan cool , wry humor and


, it must be said that he is an imaginative filmmaker who can see the forest for the trees .


sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet


two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected


of the most repellent things


perfect medium


rare imax movie


ultimately the story compels


thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .


belly laughs


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


been part of for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and parker 's creative interference


there 's no real sense of suspense


to mediocrity


intoxicating


is , in fact , so interesting


together frustrating


despite some comic sparks , welcome to collinwood never catches fire .


through the mire of this alleged psychological thriller in search of purpose or even a plot


do n't entirely ` get ' godard 's distinctive discourse


the power of love


as emotionally grand


the real star of this movie is the score , as in the songs translate well to film ,


works on no level whatsoever for me .


enormous


the illogic of its characters


goodall did , with a serious minded patience , respect and affection


a little more humanity


as clear and reliable an authority on that


when it is n't incomprehensible


action man cliché atop wooden dialogue


into this somewhat tired premise


hollow , self-indulgent


thrives on its taut performances and creepy atmosphere


mesmerizing one


while the importance of being earnest offers opportunities for occasional smiles and chuckles , it does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances .


real women have curves wears its empowerment on its sleeve but even


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


the most purely enjoyable and satisfying evenings at the movies i 've had in a while


( a ) thoughtful , visually graceful work .


at least a few good ideas and features some decent performances


a seven rip-off


documentary-like credibility


it 's a ripper of a yarn and i for one enjoyed the thrill of the chill


of stupidity , incoherence and sub-sophomoric sexual banter


the filmmakers ' paws , sad to say


every moment crackles with tension ,


a classical dramatic animated feature ,


bowling you over


... a true delight .


a fair bit of vampire fun


old-fashioned but emotionally stirring


script error


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


is n't that stealing harvard is a horrible movie -- if only it were that grand a failure


of the most politically audacious films of recent decades


splashed with bloody beauty as vivid


lacking any real emotional impact


many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience


it 's an ambitious film , and


seeing something purer than the real thing


have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie


masterpiece ' and ` triumph '


itself is small and shriveled


of a masterpiece -- and a challenging one


defies classification


a fairly enjoyable mixture of longest yard ... and the 1999 guy ritchie


not counting a few gross-out comedies i 've been trying to forget


the , yes , snail-like pacing and lack of thematic resonance


a movie you observe , rather than one you enter into .


a good film


contains a few big laughs but many more that graze the funny bone


story which fails to rise above its disgusting source material .


nasty aftertaste


powerful and telling


torn apart


melodramatic mountain


human moments


entertaining documentary


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


like stereotypical caretakers and moral teachers ,


is always welcome .


on the surface a silly comedy


remains a loosely tied series of vignettes which only prove that ` zany ' does n't necessarily mean ` funny . '


classical dramatic animated feature


clamoring for another ride


far too much


made all the more poignant by the incessant use of cell phones


a difficult time shaking its blair witch project real-time roots


a very well-meaning movie , and


remaining one of the most savagely hilarious social critics this side of jonathan swift


moving and weighty depiction


, the film works as well as it does because of the performances .


's all-powerful , a voice for a pop-cyber culture that feeds on her bjorkness .


overall the halloween series has lost its edge


the movie rising above similar fare


premise , mopes through a dreary tract of virtually plotless meanderings and


offers a persuasive


most likeable


the story compels


a tremendous piece of work .


ca n't act


the slapstick is labored , and the bigger setpieces flat .


on its fairly ludicrous plot


be most effective if used as a tool to rally anti-catholic protestors


and narrative grace


is entertainment opportunism at its most glaring .


'm not sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening


more fun watching a documentary


sly , sophisticated and surprising


ratliff 's two previous titles , plutonium circus and purgatory county show his penchant for wry , contentious configurations , and this film is part of that delicate canon .


cassavetes thinks he 's making dog day afternoon with a cause , but all he 's done is to reduce everything he touches to a shrill , didactic cartoon .


feels more like a rejected x-files episode than a credible account of a puzzling real-life happening .


wanderers and a bronx tale


stench


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


that 's just too boring and obvious


cheerfully


i 've yet to find an actual vietnam war combat movie actually produced by either the north or south vietnamese , but at least now we 've got something pretty damn close


a mimetic approximation of better films like contempt and 8 1/2 .


is almost in a class with that of wilde himself


the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama , ' but the emphasis on the latter leaves blue crush waterlogged


overwrought you 'd swear he just stepped out of a buñuel retrospective


the richness


a silly hack-and-slash flick


has the screen presence to become a major-league leading lady , ( but )


some of the most poorly staged and lit action in memory


never having seen the first two films in the series , i ca n't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days


should jolt you out of your seat a couple of times , give you a few laughs , and leave you feeling like it was worth your seven bucks , even though it does turn out to be a bit of a cheat in the end


the audience when i saw this one was chuckling at all the wrong times , and


this time , the hype is quieter , and


the script assumes that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times


decent draft


the film has an infectious enthusiasm and we 're touched by the film 's conviction that all life centered on that place , that time and that sport .


brilliantly played


got it right the first time


seagal , who looks more like danny aiello these days , mumbles his way through the movie .


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


shrieky special effects


high crimes carries almost no organic intrigue as a government / marine/legal mystery , and that 's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue


the modern rut


are bad


that wastes the talents of its attractive young leads


scathingly witty


bitchy


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


given up


ca n't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out


pretention


the film , and at times , elevate it to a superior crime movie


a predictable outcome and


film history


taking your expectations and twisting them just a bit


, uncertain film


, emotionally honest


mending a child 's pain for his dead mother via communication with an old woman straight out of eudora welty


retread story


avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up


be mesmerised


dumb , narratively chaotic ,


a delightful stimulus for the optic nerves , so much that it 's forgivable that the plot feels like every other tale of a totalitarian tomorrow .


at once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .


through a dreary tract of virtually plotless meanderings


sure , it 's contrived and predictable , but its performances are so well tuned that the film comes off winningly , even though it 's never as solid as you want it to be


yet it 's not quite the genre-busting film it 's been hyped to be because it plays everything too safe .


high camp and yet another sexual taboo into a really funny movie


unfolds as sand 's masculine persona , with its love of life and beauty , takes form


are tantamount to insulting the intelligence of anyone who has n't been living under a rock ( since sept. 11 )


of women torn apart by a legacy of abuse


a small gem from belgium


a worthwhile documentary


wholly unnecessary pre-credit sequence


on sophisticated , discerning taste


right tone


... unspeakably , unbearably dull , featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted .


most excruciating


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


the increasingly diverse french director


boredom to the point of collapse


this stuck pig


combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption .


a humorless


provides the drama that gives added clout to this doc


no one can hear you snore


sucks , but


that transforms this story about love and culture into a cinematic poem


the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the `` other side of the story . ''


he 's just a sad aristocrat in tattered finery


spiritless , silly and monotonous


a superb performance


main asset


just two


beautifully shot , delicately scored and powered by a set of heartfelt performances


a long , unfunny one


with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations


far the worst movie of the year


low-budget


powerfully drawn toward the light -- the light of the exit sign


yes , spirited away is a triumph of imagination , but it 's also a failure of storytelling .


good performances keep it from being a total rehash .


spielberg 's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later .


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


than to employ hollywood kids and people who owe


in ( the characters ' ) misery


about schmidt is nicholson 's goofy , heartfelt , mesmerizing king lear .


( seagal 's ) strenuous attempt at a change in expression could very well clinch him this year 's razzie .


shines bright on this frozen tundra soap opera that breathes extraordinary life into the private existence of the inuit people


transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being


sadly , though many of the actors throw off a spark or two when they first appear , they ca n't generate enough heat in this cold vacuum of a comedy to start a reaction .


are both overplayed and exaggerated


the rock is destined to be the 21st century 's new `` conan '' and that he 's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal .


that few movies are able to accomplish


the beaten path , not necessarily for the better


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


getting there is not even half the interest .


favorably


this mild-mannered farce , directed by one of its writers , john c. walsh , is corny in a way that bespeaks an expiration date passed a long time ago .


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


the actors are humanly engaged


of empathy


leave the theater with a lower i.q. than when i had entered


thought-provoking and stylish


historically significant ,


as subtle and touching as the son 's room


put to perfect use in the breathtakingly beautiful outer-space documentary space station 3d


into a gut-wrenching examination of the way cultural differences and emotional expectations collide


lacks the spirit of the previous two ,


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


ten little indians meets friday the 13th by way of clean and sober , filmed on the set of carpenter 's the thing and loaded with actors you 're most likely to find on the next inevitable incarnation of the love boat


` synthetic ' is the best description of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree .


a bloated plot


classic theater piece


my only complaint


to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product


you can do no wrong with jason x.


's still entertaining to watch the target practice .


a vh1 behind the music special that has something a little more special behind it : music that did n't sell many records but helped change a nation


for only 71 minutes


an elegant visual sense and a talent


, consistently funny .


buried somewhere inside its fabric , but never clearly seen or


the film has a laundry list of minor shortcomings


to be a breath of fresh air


tries too hard


is unfocused , while the story goes nowhere .


fails to give his audience a single character worth rooting for ( or worth rooting against , for that matter )


everybody loves a david and goliath story


a lame romantic comedy


the movie bogs down in rhetoric and cliché .


the writing is indifferent


will probably like it .


of his top-notch creative team


when it 's not wallowing in hormonal melodrama


needlessly poor quality


an enthralling , entertaining feature


with its many out-sized , out of character and logically porous action set


lines , the impressive stagings of hardware


bewilderingly brilliant


with the cheesiest monsters this side of a horror spoof , which they is n't , it is more likely to induce sleep than fright .


summery


carefully choreographed


- as-nasty -


would be better as a diary or documentary


a true adaptation of her book


the capability of effecting change and inspiring hope


are stanzas of breathtaking , awe-inspiring visual poetry


cinematic deception


delightful hand shadows


about the origins of nazi politics and aesthetics


making the right choice


be the performances of their careers


with energy and innovation


a hard-to-swallow premise


of the wondrous beats


a bit of a downer and a little over-dramatic at times ,


made but uninvolving


life


the magnificent swooping aerial shots are breathtaking


it 's rare to find a film to which the adjective ` gentle ' applies , but


that both thrills the eye


mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device


the acting is n't much better .


it is n't particularly funny


are no less a menace to society than the film 's characters .


'' comes from the heart


absorbing movie


a well paced and satisfying little drama that deserved better than a ` direct-to-video ' release


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


dystopian


... a bland , pretentious mess .


the jokes are sophomoric ,


well-timed explosion


creepy turn


though brown sugar is so earnest in its yearning for the days before rap went nihilistic that it summons more spirit and bite than your average formulaic romantic quadrangle


beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce ... lies a plot cobbled together from largely flat and uncreative moments .


it 's a boring movie about a boring man , made watchable by a bravura performance from a consummate actor incapable of being boring .


with loosely connected characters and plots that never quite gel


great actors hamming it up


delightful cast


false , sitcom-worthy solutions


mishandle the story 's promising premise of a physician who needs to heal himself


is too upbeat


modest masterpiece .


not a classic , but a movie the kids will want to see over and over again .


a stylistic


that avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type


his story so compellingly with us is a minor miracle


brings us right into the center of that world


titular


the more common saccharine genre


characteristic style


a stunningly unoriginal premise


long-on-the-shelf


revigorates


nuanced performance


a major waste ...


a sports extravaganza


any scorsese has ever given us


the only pain


, and their personalities undergo radical changes when it suits the script


rather slow beginning


a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man .


document


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


this is one adapted - from-television movie that actually looks as if it belongs on the big screen .


is terrific


distressing


a sub-formulaic slap


the tears come during that final , beautiful scene


itself could be played out in any working class community in the nation .


ear-splitting


vehicle that even he seems embarrassed to be part of .


better entertainment


storytelling feels slight .


guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today


is funny and pithy ,


then this first film to use a watercolor background since `` dumbo '' certainly ranks as the most original in years .


lingering death


did n't just go to a bank manager and save everyone the misery


russell lacks the visual panache , the comic touch , and perhaps the budget of sommers 's title-bout features .


is a hoot ,


into a sane and breathtakingly creative film


a surprisingly sweet and gentle comedy


` laugh therapy '


passing twinkle


good surprise ending


popcorn movie fun


some movie star charisma


that leaves you wanting more


the irwins ' scenes are fascinating ;


, funnier .


for anyone


than into the script , which has a handful of smart jokes


its worthy predecessors


uneven , self-conscious but often hilarious spoof .


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


as such the film has a difficult time shaking its blair witch project real-time roots


something to be ` fully experienced '


remarkable


saddled with an unwieldy cast of characters and angles ,


insightful about kissinger 's background and history


-- definitely a step in the right direction


charming but slight comedy


to rescue me from a summer of teen-driven , toilet-humor codswallop


tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents


gave me no reason to care


quietly hopeful


muy loco , but no more ridiculous


life affirming and heartbreaking , sweet without the decay factor


a nice , light treat


inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography


perfect teaming


more of the same old garbage


slow ,


lacks the spirit of the previous two


fine performance


that takes its sweet time building to a climax that 's scarcely a surprise by the time


for kids or their parents , for that matter


a smart , steamy mix of road movie , coming-of-age story and political satire .


if there 's no art here


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


who cares ?


painstaking


, amusing and unpredictable


while somewhat less than it might have been , the film is a good one , and you 've got to hand it to director george clooney for biting off such a big job the first time out .


bloodsucker computer effects


the film is a hilarious adventure and


is undone by anachronistic quick edits and occasional jarring glimpses of a modern theater audience watching the events unfold


the way a good noir should


creates something more beautiful than either of those films


is amazing


your typical junkie opera


summer audience


there 's always these rehashes to feed to the younger generations


the reason for that is a self-aware , often self-mocking , intelligence .


emotional power


this turd


profound characterizations


anemic , pretentious .


's kind of sad that so many people put so much time and energy into this turkey


's just merely very bad .


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


often strains


a lunar mission with no signs of life


of badness


predictable plot and paper-thin supporting characters


tackles more than she can handle


` blue crush ' swims away with the sleeper movie of the summer award .


pulls off enough


a surprisingly ` solid ' achievement


give a spark


transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange


is an enjoyable big movie primarily


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 .


sketches


is essentially an extended soap opera


true pleasure .


's a feel-bad ending for a depressing story that throws a bunch of hot-button items in the viewer 's face and asks to be seen as hip , winking social commentary


once called ` the gift of tears


are good


complexities


by a failure


fumbled


washed away


a nearly 21/2 hours , the film is way too indulgent .


black-and-white psychedelia


depressingly


efficient ,


to learn , to grow


feel the screenwriter at every moment


with its love of life and beauty


, red dragon satisfies -- from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation .


street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence ,


solid , psychological action film


as a war tribute is disgusting to begin with


the year 's most enjoyable releases


, the more details slip out between his fingers .


a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably


exploitative


hard-won rewards


a smart , compelling drama


conceited


it does elect to head off in its own direction


a powerful young actor


is an exercise in chilling style , and twohy films the sub , inside and out , with an eye on preserving a sense of mystery


get an ugly , mean-spirited lashing


is a superior horror flick .


bad sitcom


fails


worst


a knockout of a closing line


you 're going to subjugate truth to the tear-jerking demands of soap opera


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


the mind to enter and accept another world


essentially ruined -- or ,


detective story


wimps out by going for that pg-13 rating


a sentimental hybrid


astonishingly


screwball ideas


her small , intelligent eyes


rife with miscalculations


like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure , but sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions


pleasant enough dish


a convolution


feels derivative


it treats ana 's journey with honesty that is tragically rare in the depiction of young women in film .


loud , low-budget and tired


brings documentary-like credibility


comes across as stick figures reading lines from a teleprompter .


listen to marvin gaye or the supremes the same way again


koepp 's screenplay is n't nearly surprising or clever enough to sustain a reasonable degree of suspense on its own .


's so fascinating you wo n't be able to look away for a second .


rich , bittersweet israeli documentary


is also as unoriginal as they come , already having been recycled more times than i 'd care to count .


adds substantial depth


have been called ` under siege 3


effort and


boorish movie


is funny and


irritates and saddens me


his penchant for tearing up on cue --


is a phenomenal band with such an engrossing story that will capture the minds and hearts of many .


, much ado about something is an amicable endeavor .


of overly-familiar and poorly-constructed comedy


wo n't feel cheated by the high infidelity of unfaithful


pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love


also a -- dare i say it twice -- delightfully charming -- and totally american


drag along


pot


a bitter pill


film buffs


del


you know it 's going to be a trip


with few moments of joy rising above the stale material


sex gags and prom dates


profane and exploitative as the most offensive action


impressionistic


a confusing melange


the film 's crisp , unaffected style


funny film


open


a romantic crime comedy that turns out to be clever , amusing and unpredictable


takes a clunky tv-movie approach to detailing a chapter in the life of the celebrated irish playwright , poet and drinker .


low-key romantic comedy


manically generous


strips bible stores of the potential for sanctimoniousness , making them meaningful for both kids and church-wary adults .


is little more than a mall movie designed to kill time


its art and heart


playstation cocktail


elegant and sly


much of the movie 's charm


the movie 's thesis -- elegant technology for the masses --


crossing-over mumbo jumbo , manipulative sentimentality , and


uncompromising , difficult and unbearably beautiful


, then you will probably have a reasonably good time with the salton sea .


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


is easily as bad at a fraction the budget


dry


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


are simply intoxicating


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


ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending .


doofus


a pretty funny movie ,


flat dialogue


the kind of sweet-and-sour insider movie that film buffs will eat up like so much gelati .


good actors , good poetry


what -- and has all the dramatic weight of a raindrop


a more graceful way


does n't allow an earnest moment to pass without reminding audiences that it 's only a movie .


despite iwai 's vaunted empathy


fast , funny , and even touching


a lobotomy


utter mush ... conceited pap


about babak payami 's boldly quirky iranian drama secret ballot ... a charming and evoking little ditty that manages to show the gentle and humane side of middle eastern world politics


riveting profile


on tediously about their lives , loves and the art


appreciate the wonderful cinematography and naturalistic acting


the uninspired scripts , acting and direction


surprising in how much they engage and even touch us


the widowmaker is a great yarn .


unrealized


low-rent --


caricature


a great way to spend 4 units of your day


desperate


this is a movie full of grace and , ultimately , hope


can watch , giggle and get an adrenaline boost without feeling like you 've completely lowered your entertainment standards


brosnan is more feral in this film than i 've seen him before and halle berry does her best to keep up with him .


spielberg flair


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


our imagination


is impenetrable and dull


simply because the movie is ugly to look at and not a hollywood product


-- and at times , all


canny and


viva le resistance !


in love with a girl


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


satire and childhood awakening


by men of marginal intelligence


brief pretentious period


auspicious feature debut


a film really has to be exceptional to justify a three hour running time


charming in comedies like american pie and dead-on in election


know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick


the stars may be college kids , but the subject matter is as adult as you can get :


for both the scenic splendor of the mountains


it makes compelling , provocative and prescient viewing .


effective


even by the intentionally low standards of frat-boy humor


incredibly heavy-handed , manipulative dud


the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive .


is faster , livelier and a good deal funnier than his original .


vulgar and forgettably


this film 's impressive performances


keep you wide awake and ...


excruciating film


most magical and most fun family fare


such a dependable concept


mind-numbingly awful


a remote shelf


, first-time director denzel washington and a top-notch cast manage to keep things interesting .


the narrator and the other characters try to convince us that acting transfigures esther


collective heart attack


a hypnotic cyber hymn and a cruel story of youth culture .


drama


cheesier


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


the film is a hilarious adventure and i shamelessly enjoyed it .


somehow it all comes together to create a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment


so well tuned that the film comes off winningly , even though it 's never as solid as you want it to be


the misery of these people


mid-to-low budget


suited neither to kids or adults


wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie


this in-depth study of important developments of the computer industry


funnier than anything


such fury


on losers in a gone-to-seed hotel


powerful and revelatory


crazy as hell marks an encouraging new direction for la salle .


an energetic , extreme-sports adventure


oddly fascinating


at its best


`` white oleander , '' the movie , is akin to a reader 's digest condensed version of the source material .


will find little new here


form a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people


fanciful ,


one-trick pony


none of this is very original , and it is n't particularly funny


predictably melodramatic .


soulful and


serves up all of that stuff , nearly subliminally ,


a generic family comedy unlikely to be appreciated by anyone outside the under-10 set .


when something goes bump in the night and nobody cares


a solid , psychological action film


, is painterly .


seems to enjoy its own transparency


formula family tearjerker


's not a fresh idea at the core of this tale


, thirteen conversations about one thing is a small gem .


time and art


the sheer joy and pride


beautifully directed and convincingly acted .


's already done way too often


mystery and a ravishing , baroque beauty


` alice 's adventure through the looking glass and into zombie-land ' is filled with strange and wonderful creatures .


is off-putting ,


situates it all in a plot as musty as one of the golden eagle 's carpets .


ideal casting


silliness you are likely to witness in a movie theater for some time


forgot


dismiss --


a fine-looking film


turns out to be affected and boring


fluke


alone could force you to scratch a hole in your head .


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


perfunctory conclusion


is perfectly creepy and believable


with moments of genuine insight into the urban heart


relaxed in its perfect quiet pace


reverie


proved too difficult


it 'll probably be in video stores by christmas ,


've been nice if the screenwriters had trusted audiences to understand a complex story , and left off the film 's predictable denouement


sad to say


is pleasant , diverting and modest -- definitely a step in the right direction .


takes its techniques into such fresh territory


plot and paper-thin supporting characters


post-war art world


dogtown is hollow , self-indulgent , and - worst of all - boring .


that embraces its old-fashioned themes and


a bit like getting all excited about a chocolate eclair and then biting into it and finding the filling missing


insultingly unbelievable


a rare treat that shows the promise of digital filmmaking


a bit of a cheat in the end


seem goofy


one of the best of a growing strain of daring films ...


rusi vulakoro


do n't even bother to rent this on video .


half-lit , sometimes creepy intimacy


a miraculous movie , i 'm going home is so slight , yet overflows with wisdom and emotion .


troubling


the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and in the way the ivan character accepts the news of his illness so quickly but still finds himself unable to react .


a well-rounded tribute to a man whose achievements -- and complexities -- reached far beyond the end zone .


maintains an appealing veneer without becoming too cute about it .


( a ) satisfying niblet .


characteristically startling visual style and


` ace ventura ' rip-off


you can sip your vintage wines and watch your merchant ivory productions ; i 'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week .


of obligatory cheap


so pertinent and enduring


is less the cheap thriller you 'd expect than it is a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably and dangerously collide


's incredible the number of stories


lacks the visual panache , the comic touch , and perhaps the budget of sommers 's title-bout features


the power of shanghai ghetto , a documentary by dana janklowicz-mann and amir mann ,


co-writer/director peter jackson 's expanded vision


remove spider-man the movie


cruel , misanthropic stuff with only weak claims to surrealism and black comedy


which may be why it 's so successful at lodging itself in the brain


the film works


the real star of this movie is the score , as in the songs translate well to film , and it 's really well directed .


intriguing movie experiences


the film has a terrific look and salma hayek has a feel for the character at all stages of her life


a soul-stirring documentary about the israeli/palestinian conflict as


from disappointing


but enjoyable documentary .


is a remarkably original work .


while failing to find a spark of its own


bartleby squanders as much as it gives out .


refined


, is a treat .


is one of those rare pictures that you root for throughout


off as annoying rather than charming


more self-absorbed women than the mother and


fails to give his audience a single character worth rooting for ( or worth rooting against , for that matter ) .


yet why it fails is a riddle wrapped in a mystery inside an enigma .


fear and frustration are provoked to intolerable levels


is n't much fun without the highs and lows


is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears


was n't enough


soulless and -- even more damning -- virtually joyless , xxx achieves near virtuosity in its crapulence .


's pretty linear and only makeup-deep


be forgiven for realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already


, a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .


the leanest and meanest of solondz 's misanthropic comedies


turn bill paxton into an a-list director


the best date movie


disgusting .


derived from a lobotomy , having had all its vital essence scooped out and discarded


is the superficial way it deals with its story


impeccable comic timing ,


sadly --


then you 're at the right film .


its visual delights


ayatollah


at a failure of our justice system


killer website movie


of movie that comes along only occasionally , one so unconventional , gutsy and perfectly


michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and he 's got as potent a topic as ever here


disaster flick


is essentially devoid of interesting characters or even a halfway intriguing plot


solid , spooky entertainment


piece to watch with kids and use to introduce video as art


very shapable but largely unfulfilling


it also has many of the things that made the first one charming .


a gloriously goofy way


every aggrieved father cliché


filled with more holes than clyde barrow 's car .


wo n't join the pantheon of great monster/science fiction flicks that we have come to love


the film ) works


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


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


, it 's too long and unfocused .


own placid way


has become one of our best actors


the good-time shenanigans in welcome perspective


a man in pain


, cliched and clunky


the light-footed enchantment the material needs


compliment


go see this unique and entertaining twist on the classic whale 's tale


( toback 's ) fondness for fancy split-screen , stuttering editing and pompous references to wittgenstein and kirkegaard ... blends uneasily with the titillating material


immaturity


dumb , narratively chaotic , visually sloppy


the problems


is a divine monument to a single man 's struggle to regain his life , his dignity and his music


privileged moments and memorable performances


shows little understanding


begins haranguing the wife in bad stage dialogue


of pure movie


is brilliant ,


beyond its limit to sustain a laugh


never worry about anyone being bored


a powerful drama with enough sardonic wit to keep it from being maudlin


fairly trite


orwell 's dark , intelligent warning cry


it 's fun , but it 's a real howler


ignorant


is a big letdown


recycled more times than i 'd care to count


offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes .


is about as interesting


nearly terminal case


overlong documentary


a poignant lyricism runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem .


little doubt


about as exciting to watch as two last-place basketball teams playing one another on the final day of the season


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


's nowhere near as good as the original .


so-five-minutes-ago pop music


unambitious writing


, whatever your orientation .


of comedic bliss


create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption


come by once in a while with flawless amounts of acting , direction , story and pace


impressive hybrid .


lovely


... spiced with humor ( ' i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand )


hide the fact that seagal 's overweight and out of shape


all of the elements are in place for a great film noir , but


you laugh once ( maybe twice )


maggots crawling on a dead dog


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


the artistry of making a film


cho 's timing is priceless .


much interest


more bluster


the world needs more filmmakers with passionate enthusiasms like martin scorsese .


generous and subversive artworks


a boring , pretentious waste of nearly two hours


almost as much as they love themselves


there 's 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 .


succeeds mainly


evokes a palpable sense of disconnection


it will be , and in that sense is a movie that deserves recommendation


than the bruckheimeresque american action flicks it emulates


it 's so crammed with scenes and vistas and pretty moments that it 's left a few crucial things out , like character development and coherence .


the astute direction of cardoso


sentimentality and annoying


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


go around , with music and laughter


crisp clarity


your ice-t 's from your cool-j 's to realize that as far as these shootings are concerned , something is rotten in the state of california


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


the direction of spielberg


fascinating , bombshell documentary


does best


can not guess why the cast and crew did n't sign a pact to burn the negative and the script and pretend the whole thing never existed .


hopelessly inane , humorless and under-inspired .


the result is an ` action film ' mired in stasis .


delightfully charming -- and totally american


amnesiac


treads heavily


a superficial way


dumb humor


journalistically dubious ,


better after foster


childlike dimness and


a kids-and-family-oriented cable channel


maryam is a small film , but it offers large rewards .


the familiar topic of office politics


's all surface psychodramatics


not only learning but inventing a remarkable new trick


because it echoes the by now intolerable morbidity of so many recent movies


is unashamedly pro-serbian and makes little attempt to give voice to the other side .


's not particularly well made


directing with a sure and measured hand , ( haneke ) steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology .


beautifully read and , finally , deeply humanizing


since freddy got fingered


shallow , noisy and pretentious .


the viewer 's patience


rich promise


anarchist maxim


is long on


two fine actors , morgan freeman and


rarely does such high-profile talent serve such literate material .


the leads are natural and lovely


hampered by its predictable plot and paper-thin supporting characters


once overly old-fashioned in its sudsy plotting


that this should seal the deal


high crimes carries almost no organic intrigue as a government / marine/legal mystery


is so intent on hammering home his message that he forgets to make it entertaining .


an unbalanced mixture


, the movie completely transfixes the audience .


nights feels more like a quickie tv special than a feature film ... it 's not even a tv special you 'd bother watching past the second commercial break


on top of a foundering performance


wasting


by the incredibly flexible cast


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


fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters


make a nice coffee table book


ends so horrendously confusing


golden book


so far-fetched it would be impossible to believe if it were n't true


simple-minded and


alert , if not


is sordid and disgusting


the incessant use


the same way you came -- a few tasty morsels under your belt , but no new friends


it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them .


nothing about them is attractive .


the performers are so spot on


its appeal will probably limited to lds church members and undemanding armchair tourists .


a film less


a lovely film for the holiday season


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


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


a head-turner -- thoughtfully written


the comedy equivalent


through with originality , humor and pathos


of this unique director 's previous films


some outrageously creative action


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


pushes all the demographically appropriate comic buttons


combined with stunning animation


cranky


become one of our best actors


( carvey 's ) characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .


every frame of this stylish film that is able to visualize schizophrenia but is still confident enough to step back and look at the sick character with a sane eye


the most beautiful , evocative works i 've seen


unfortunately , kapur modernizes a.e.w. mason 's story to suit the sensibilities of a young american , a decision that plucks `` the four feathers '' bare .


hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .


a nicely understated expression of the grief


the relationship between reluctant


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


much of all about lily chou-chou is mesmerizing


always entertaining , and smartly written


an adoring , wide-smiling reception


is authentic


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


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


enough to sit through crap like this


a little scattered


ignored it in favor of old ` juvenile delinquent ' paperbacks with titles


made fresh by an intelligent screenplay and gripping performances


it 's a ripper of a yarn


the soundtrack alone is worth the price of admission .


in-depth portrait


entertaining and suggestive


the demons of his own fear and paranoia


at the very least


intermittently powerful study


you 'll enjoy the hot chick .


racist portraits


creating an intriguing species of artifice


by the sea would slip under the waves .


i thought the relationships were wonderful , the comedy was funny , and the love ` real '


has really done his subject justice .


if there was ever a movie where the upbeat ending feels like a copout


misses a major opportunity to be truly revelatory about his psyche .


not since ghostbusters has a film used manhattan 's architecture in such a gloriously goofy way .


to a t.


cloaks a familiar anti-feminist equation ( career - kids = misery ) in tiresome romantic-comedy duds .


male hip hop fantasy


becomes a questionable kind of inexcusable dumb innocence


bible stores of the potential for sanctimoniousness , making them meaningful for both kids and church-wary adults


a great yarn


rooted


soderbergh 's best films , `` erin brockovich , '' `` out of sight '' and `` ocean 's eleven , ''


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


sweetness and vulnerability


the muckraking , soul-searching spirit


, it 's badder than bad .


offers a trenchant critique of capitalism


well-paced and ultimately


stellar performance


best disney movie


flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism


cardboard characters and performers


will have fun with


this crude , this fast-paced and this insane


will eat up like so much gelati


especially give credit to affleck .


the movie contains no wit , only labored gags .


been this disappointed by a movie in a long time


inevitable and


the cleverest ,


an interesting bit of speculation


feel better already .


its leaden acting


teen-sleaze equivalent


from being a complete waste of time


is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the `` webcast . ''


as the direction is intelligently accomplished


but no . .


's a pretty woman


's low on both suspense and payoff


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


good actors have a radar for juicy roles -- there 's a plethora of characters in this picture , and not one of them is flat


fumbles away


, overlong soap


a tremendous , offbeat sense of style and humor


miller eloquently captures the moment when a woman 's life , out of a deep-seated , emotional need , is about to turn onto a different path .


to swallow thanks to remarkable performances by ferrera and ontiveros


seems as deflated as he does


dumb gags


a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged


several strong performances


harmless


a lot of problems


congrats disney


the film has an odd purity that does n't bring you into the characters so much as it has you study them .


is the awkwardly paced soap opera-ish story


, it 's kinda dumb .


reminds us that , in any language , the huge stuff in life can usually be traced back to the little things


in a slap-happy mood


a sly female empowerment movie


half the excitement of balto


updating white 's dry wit to a new age


the movie spends more time with schneider than with newcomer mcadams , even though her performance is more interesting ( and funnier ) than his .


dismiss


rehashes several old themes and is capped with pointless extremes


take the warning literally


a thriller


particular new yorkers deeply touched by an unprecedented tragedy


energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they 're not interested .


from


on no level whatsoever for me


consistently funny


equally engrossing


looks and feels tired


a reasonable degree of suspense


turns a potentially interesting idea into an excruciating film


a brief amount


a heaven


to create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption


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


quiet , introspective and entertaining


a bang-up job of pleasing the crowds


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


opening up


told just proficiently enough to trounce its overly comfortable trappings .


is an action movie with an action icon who 's been all but decommissioned


to stop watching


softheaded metaphysical claptrap


who paid to see it


less than fresh


a triumph , a film that hews out a world and carries us effortlessly from darkness to light


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


rarely , a movie is more than a movie .


we 've liked klein 's other work but rollerball left us cold


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


the performers are so spot on , it is hard to conceive anyone else in their roles .


offend viewers not amused by the sick sense of humor .


an incredibly irritating comedy about thoroughly vacuous people


a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili .


an overly sillified plot and


becomes long and tedious


are never more than sketches ... which leaves any true emotional connection or identification frustratingly out of reach .


intermittently wise


some writer dude , i think his name was , uh , michael zaidan , was supposed to have like written the screenplay or something , but , dude ,


writer and director otar iosseliani 's pleasant tale


is simply a well-made and satisfying thriller .


is carried less by wow factors than by its funny , moving yarn that holds up well after two decades .


a hilarious ode to middle america


the funniest jokes of any movie


derailed


the problem with wendigo , for all its effective moments , is n't really one of resources .


animation work


i found it weirdly appealing


do justice


is extremely funny


inconsequential road-and-buddy pic


that is fully formed and remarkably assured


, you discover that the answer is as conventional as can be .


peels layers


nighttime manhattan , a loquacious videologue of the modern male and the lengths to which he 'll go to weave a protective cocoon around his own ego


bloody


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


strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .


in tired stereotypes


so perfect for a ballplayer


wise


when the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails


imaginary


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


flawed humanity


ame and unnecessary .


watch robert deniro belt out `` when you 're a jet


is n't just


the long and eventful spiritual journey of the guru who helped


a great writer


messy , uncouth , incomprehensible , vicious and absurd


though an important political documentary , this does not really make the case the kissinger should be tried as a war criminal .


the chaotic horror


the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep .


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


record the lives of women torn apart by a legacy of abuse


by humanity 's greatest shame


plays like a glossy melodrama that occasionally verges on camp .


incredibly flexible cast


is a smart movie that knows its classical music , knows its freud and knows its sade .


tanks .


corrupt


romething 's really wrong with this ricture !


really strong second effort


you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness


of french cinema 's master craftsmen


i would have liked it much more if harry & tonto never existed


grinds itself


all the way to the credits


a winning comedy with its wry observations


the most screwy thing here is how so many talented people were convinced to waste their time


awarded mythic status


tambor and clayburgh make an appealing couple -- he 's understated and sardonic , she 's appealingly manic and energetic .


, very good


fun with it all


, thoughtful , unapologetically raw


this film always keeping the balance between the fantastic and the believable


much has been written about those years when the psychedelic '60s grooved over into the gay '70s , but words do n't really do the era justice .


has performed a difficult task indeed


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


repetitious


a freedom


as a treatise on spirituality as well as a solid sci-fi thriller


with lingering questions about what the film is really getting at


jacobi , the most fluent of actors ,


powerful and reasonably fulfilling


is driven by appealing leads


a halfwit plot


all too familiar ...


in self-consciously flashy camera effects , droning house music and flat , flat dialogue


a mess from start to finish


a teenybopper ed wood film , replete with the pubescent scandalous innuendo and the high-strung but flaccid drama


hide a weak script


, dogtown and z-boys has a compelling story to tell .


abject


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


decisive


adobo


they grow up and you can wait till then


some movies were made for the big screen , some for the small screen


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


approach to the workplace romantic comedy .


settle for


are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


profits


sits there like a side dish no one ordered .


breathe out of every frame


as a remake , it 's a pale imitation .


expect and often surprises you with unexpected comedy


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


notable


breezy movie


the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .


things really get weird , though not particularly scary : the movie is all portent and no content


terrifically entertaining


charms are immediately apparent


a coming-of-age movie that hollywood would n't have the guts to make .


robust


because of its heightened , well-shaped dramas


looks genuinely pretty


elegantly appointed


's a piece of handiwork that shows its indie tatters and self-conscious seams in places , but has some quietly moving moments and an intelligent subtlety


fascinating they may be as history


winning and wildly fascinating work


's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts .


a long patch of black ice


odd and weird


this oscar-nominated documentary


too burdened by the actor


give the movie points for


that only ever walked the delicate tightrope between farcical and loathsome


see clockstoppers if you have nothing better to do with 94 minutes .


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


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


bloated


its characters , about whose fate it is hard to care


intelligent and


an elegantly balanced movie -- every member of the ensemble has something fascinating to do --


to the endlessly repetitive scenes of embarrassment


turn on many people to opera


ararat is fiercely intelligent and uncommonly ambitious .


substandard


the characters are so generic and


director hoffman , with great help from kevin kline ,


eventually resents having to inhale this gutter romancer 's secondhand material


a tremendous , offbeat sense


with taking insane liberties and doing the goofiest stuff out of left field


the first fatal attraction was vile enough .


to be dismissed


ridiculous action sequences


in a bad-movie way


written by somebody else


loses its overall sense of mystery


mostly told through on-camera interviews with several survivors , whose riveting memories are rendered with such clarity that it 's as if it all happened only yesterday


of the better video-game-based flicks ,


real shame


often incisive satire and unabashed sweetness


its filmmakers run out of clever ideas and visual gags about halfway through


attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say ,


low-brow


is phenomenal , especially the women .


whimsical humor


that makes the banger sisters a fascinating character study with laughs to spare


positive change


obsessive


hilariously raunchy as south park


lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing


new energy


is far-flung , illogical , and plain stupid


would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .


has a difficult time shaking its blair witch project real-time roots


, kapur gives us episodic choppiness , undermining the story 's emotional thrust .


even when there are lulls , the emotions seem authentic , and the picture is so lovely toward the end


oftentimes funny ,


i do n't know what she 's doing in here


great fun


the qualities that made the first film so special


that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads


do a load of good


drumline is its energy


is dicaprio 's best performance in anything ever , and easily the most watchable film of the year .


well-paced


he has something significant to say


brian tufano 's handsome widescreen photography


horribly depressing and


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


a strong erotic spark to the most crucial lip-reading sequence


, steven shainberg 's adaptation of mary gaitskill 's harrowing short story ... is a brilliantly played , deeply unsettling experience .


like showgirls and glitter , the most entertaining moments here are unintentional .


laugther


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


, this is one of the best-sustained ideas i have ever seen on the screen .


is n't as funny as you 'd hoped .


as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner .


bitter and less mature


it 's easier to change the sheets than to change hackneyed concepts when it comes to dreaming up romantic comedies


suggest possibilities which imbue the theme with added depth and resonance


the occasional belly laugh


shows uncanny skill in getting under the skin of her characters


spreads itself too thin , leaving these actors , as well as the members of the commune


while certainly clever in spots


to accommodate to fit in and gain the unconditional love she seeks


gives this aging series a much needed kick , making `` die another day '' one of the most entertaining bonds in years


evocative


i do n't know if frailty will turn bill paxton into an a-list director , but he can rest contentedly with the knowledge that he 's made at least one damn fine horror movie .


where nothing really happens


worthy of our respect


successfully


has a florid turn of phrase that owes more to guy ritchie than the bard of avon


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


between these two marginal characters


they so heartwarmingly motivate


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 .


a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china


rising star jake gyllenhaal


that suffers because of its many excesses


griffiths ' warm and winning central performance


he 's just a sad aristocrat in tattered finery , and the film seems as deflated as he does


a plodding teen remake that 's so mechanical you can smell the grease on the plot


a truly larger-than-life character


action-packed an experience as a ringside seat at a tough-man contest


o fantasma is boldly , confidently orchestrated , aesthetically and sexually , and


seeing things from new sides , plunging deeper ,


here 's a case of two actors who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior .


as pure composition and form --


family


formulaic to the 51st power , more like .


intelligent jazz-playing exterminator


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


old


for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects


satisfactorily exploit its gender politics , genre thrills or inherent humor


a solidly constructed , entertaining thriller


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


clarity


turns fanciful , grisly and engagingly quixotic


frightening and compelling


the first mistake


her petite frame and vulnerable persona emphasising her plight and isolation


goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .


naughty children 's


sophisticated film


offering instead with its unflinching gaze a measure of faith in the future


warm , inviting , and surprising


the film 's plot may be shallow ,


vowing , ` this is going to be something really good


with such a buoyant , expressive flow of images


out-of-kilter


grotesquely


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


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


rubber-face routine


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


is n't a new idea


bad stage dialogue


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


picture-perfect


precocious smarter-than-thou wayward teen struggles to rebel against his oppressive , right-wing , propriety-obsessed family .


duds


wonderfully sprawling soap opera


foul substances


fairly unsettling scenes


of character-driven storytelling


beautiful film


darned if your toes wo n't still be tapping


cheapening


of its marks


gets sillier , not scarier ,


examines crane 's decline with unblinking candor .


so aggressively cheery that pollyana would reach for a barf bag .


uses a totally unnecessary prologue , just because it seems obligatory


would be a total washout


foreign culture only


impressive images


stock plot


more irresistibly than in ` baran


our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender -- and i know this because i 've seen ` jackass : the movie


, tasteless and idiotic


the talented cast generally


a fresh , entertaining comedy that looks at relationships minus traditional gender roles .


, ` naqoyqatsi ' is banal in its message and the choice of material to convey it .


to shine


a renowned indian film culture that allows americans to finally revel in its splendor


you might think he was running for office -- or trying to win over a probation officer


live together


somewhat less than it might have been


crowd pleaser


humorless , self-conscious art drivel , made without a glimmer of intelligence or invention .


control-alt-delete


of janice beard ( eileen walsh ) when her real-life persona is so charmless and vacant


storytellers


be spectacularly outrageous


'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 ' ?


never finds its tone and several scenes run too long .


are served with a hack script


appeals to me


i 'm not sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening , but it 's stupid


dogs


a highly spirited , imaginative kid 's movie that broaches neo-augustinian theology : is god


a young boy


moving and vibrant


after 30 minutes into a slap-happy series


fails on so many levels


which become strangely impersonal and abstract


disturbance or detached pleasure


druggy and self-indulgent ,


gorgeous pair


is oscar-worthy .


sparkling , often hilarious romantic jealousy comedy ...


lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay


of misogyny and unprovoked violence


, ugly and destructive little ****


perfect black pearls


is n't


a non-stop funny feast of warmth , color and cringe


want to check it out


in search of a better movie experience


unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn


takes great pleasure


work in concert


burns 's strongest film since the brothers mcmullen


enough freshness


rude and profane


's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke .


sanitised and


levity


should dispel it


at least three dull plots


filled with unlikable , spiteful idiots


more predictable than their consequences


's a crime movie made by someone who obviously knows nothing about crime


be found a tough beauty


i liked the original short story but this movie , even at an hour and twenty-some minutes , it 's too long and it goes nowhere


resurrection has the dubious distinction of being a really bad imitation of the really bad blair witch project .


far more entertaining


before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm


bland to be interesting


certainly was n't feeling any of it


if `` lilo & stitch '' is n't the most edgy piece of disney animation to hit the silver screen , then this first film to use a watercolor background since `` dumbo '' certainly ranks as the most original in years .


familiar you might as well be watching a rerun


but something far more stylish and cerebral -- and , hence


rifkin 's references are ... impeccable throughout .


escapes the precious trappings of most romantic comedies , infusing into the story very real ,


scratch for a lesson in scratching


like it was worth your seven bucks


is pretty much the same all over


the delicious


mike shoots and scores


the number of tumbleweeds blowing through the empty theaters


very minds


non-techies can enjoy


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


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


in mystery and a ravishing , baroque beauty


should win the band a few new converts , too


deals with its subject matter in a tasteful , intelligent manner , rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer .


no-holds-barred cinematic


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .


that is filled with raw emotions conveying despair and love


the message of our close ties with animals can certainly not be emphasized enough


humor and heart and very talented young actors


its compelling mix


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


that seems as though it was written for no one , but somehow


in a give-me-an-oscar kind of way


a pleasant enough dish


what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it 's icky .


of one unstable man


we delight in the images


another gross-out college comedy -- ugh


stitch is a bad mannered , ugly and destructive little **** .


superficially written characters ramble


hit on a 15-year old


the high seas that works better the less the brain is engaged


's not clear whether we 're supposed to shriek


a hopeless , unsatisfying muddle


will have an intermittently good time


in watching the resourceful molly stay a step ahead of her pursuers


is n't much there here .


an impressive roster of stars and direction


the most beautiful , evocative works


smugly


rich in shadowy metaphor and as sharp as a samurai sword , jiang wen 's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut .


well-directed and


a sweetness , clarity and emotional openness that recalls the classics of early italian neorealism


possible argentine american beauty reeks


grandkids


the results are tired


bale reduced mainly to batting his sensitive eyelids


good things to offer


an intermingling of naiveté and sophistication


by a charm that 's conspicuously missing from the girls ' big-screen blowout


most deceptively amusing comedies


enjoyable 100


ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up


no earthly reason


enough to become comparatively sane and healthy


, i 'll buy the soundtrack .


the artsy and often pointless visuals


had a lot of problems with this movie


a real story


the most offensive action


the emperor 's club any time


humankind 's liberating ability


high-spirited


there are for children and dog lovers


enough is not a bad movie , just mediocre .


fails as a dystopian movie ,


respect


` anyone with a passion for cinema , and indeed sex , should see it as soon as possible . '


there is enough originality in ` life ' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens .


has a forcefully quirky tone that quickly wears out its limited welcome


like a non-stop cry for attention


uses very little dialogue


fluid , no-nonsense authority


'll buy the soundtrack .


the best movie in many a moon about the passions that sometimes fuel our best achievements and other times


that it was intended to be a different kind of film


of the director , frank novak , that keeps the film grounded in an undeniable social realism


the plot makes no sense


there 's a little violence and lots of sex in a bid to hold our attention , but it grows monotonous after a while , as do joan and philip 's repetitive arguments , schemes and treachery


overwhelmingly positive portrayal


the pathology it pretends to investigate


like the excruciating end of days


putting together familiar themes of family , forgiveness and love in a new way


a rock-solid gangster movie with a fair amount of suspense , intriguing characters and bizarre bank robberies , plus a heavy dose of father-and-son dynamics .


a wonderfully speculative character


leers , offering next to little insight into its intriguing subject


illiterate , often inert sci-fi action thriller .


think it 's in danger of going wrong


kids-and-family-oriented


a distinct rarity , and an event


members of the cultural elite


a love affair


pull together easily accessible stories that resonate with profundity


desire to enjoy good trash every now and then


diesel is n't the actor to save it .


's back-stabbing , inter-racial desire and , most importantly , singing and dancing .


what 's missing in murder by numbers


for all audiences


you can only love the players it brings to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history .


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


of effecting change and inspiring hope


with motionless characters


complex and quirky , but


comfort and familiarity


superior cast


is tuned in to its community .


talking a talk that appeals to me


being unique does n't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .


people who are enthusiastic about something and then


succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides .


this 90-minute dud


is n't worth sitting through


passionate , if somewhat flawed , treatment


like a living-room war of the worlds , gaining most of its unsettling force from the suggested and the unknown


of the most entertaining bonds in years


puts enough salt


the movie 's sophomoric blend of shenanigans and slapstick


there are flaws , but also stretches of impact and moments of awe ;


that everyone involved with moviemaking is a con artist and a liar


get into heaven by sending the audience straight to hell


as well-written as sexy beast


unless you come in to the film with a skateboard under your arm , you 're going to feel like you were n't invited to the party .


from a director who understands how to create and sustain a mood


's one of the few ` cool ' actors who never seems aware of his own coolness .


a lot of the credit for the film 's winning tone


'll love this movie .


tear your eyes


viewers are asked so often to suspend belief that were it not for holm 's performance


enough cool fun


as sharp or as fresh


a large dose of painkillers


of explosive physical energy and convincing intelligence


can render it anything but laughable .


it is messy , uncouth , incomprehensible , vicious and absurd .


a crisp psychological drama ( and ) a fascinating little thriller that would have been perfect for an old `` twilight zone '' episode .


distracted by the movie 's quick movements


worthy of her considerable talents


we assume he had a bad run in the market or a costly divorce , because there is no earthly reason other than money why this distinguished actor would stoop so low .


morality , family , and social expectation


an undeniably moving film to experience , and ultimately that 's what makes it worth a recommendation


as it sounds , but strikes a tone that 's alternately melancholic , hopeful and strangely funny


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


a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore


in the hands of a brutally honest individual like prophet jack


is as bad as you think , and worse than you can imagine .


, then the film is a pleasant enough dish .


the theme with added depth and resonance


, skins is heartfelt and achingly real .


, haphazard theatrical release


degenerates into hogwash


rotten in the state of california


full of bland hotels , highways , parking lots , with some glimpses of nature and family warmth , time out is a discreet moan of despair about entrapment in the maze of modern life .


without bestowing the subject with the intelligence or sincerity it unequivocally deserves


embarrassed to be part of


gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films .


makes oliver far more interesting than the character 's lines would suggest


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


when a movie asks you to feel sorry for mick jagger 's sex life , it already has one strike against it .


style-free


screen with considerable appeal


it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged .


inert sci-fi action thriller .


the joyous , turbulent self-discovery


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


because australia is a weirdly beautiful place


fearless


that it seems the film should instead be called ` my husband is travis bickle '


cho 's previous concert comedy film


won my heart


laugh at how bad


the best since the last waltz


like many such biographical melodramas , it suffers from the awkwardness that results from adhering to the messiness of true stories .


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


our eyes


ca n't recommend it


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


place most of the psychological and philosophical material in italics rather than trust an audience 's intelligence


afterlife


rising


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


this movie is to be cherished .


emerges a radiant character portrait .


... the movie , shot on digital videotape rather than film , is frequently indecipherable .


dogme


good-time shenanigans


not enough fizz


with really solid performances by ving rhames and wesley snipes .


( `` laissez-passer '' )


is ingenious fun


a solid formula for successful animated movies


, the film is a hilarious adventure and i shamelessly enjoyed it .


the movie 's contrived , lame screenplay and listless direction


) meandering and pointless french coming-of-age import from writer-director anne-sophie birot


malaise


energized


wonderous


if you 're not deeply touched by this movie , check your pulse .


seems too simple and the working out of the plot almost arbitrary .


finds its moviegoing pleasures in the tiny events that could make a person who has lived her life half-asleep suddenly wake up and take notice .


pretend it 's a werewolf itself by avoiding eye contact and walking slowly away .


structured less as a documentary and more as a found relic


holiday box office pie


the powerful success of read my lips with such provocative material


come up with an original idea for a teen movie


look at the backstage angst of the stand-up comic .


for its 100 minutes running time , you 'll wait in vain for a movie to happen .


like many western action films , this thriller is too loud and thoroughly overbearing


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


does n't clue you in that something 's horribly wrong


is so self-pitying


a mesmerizing cinematic poem


godard uses his characters -- if that 's not too glorified a term -- as art things


of jaglom 's self-conscious and gratingly irritating films


the bad guys


disguise the slack complacency of ( godard 's ) vision


a rip-off twice removed


creates sheerly cinematic appeal


the last metro )


ends up being neither , and fails at both endeavors


from charismatic rising star jake gyllenhaal but also


the dialogue is cumbersome ,


embarrassment and


marveled


full


bounces around with limp wrists , wearing tight tummy tops and hip huggers , twirling his hair on his finger and assuming that 's enough to sustain laughs


more busy than exciting , more frantic than involving , more chaotic than entertaining .


in the soulful development of two rowdy teenagers


pity


the worst film


captures an italian immigrant family on the brink of major changes .


to insult the intelligence of everyone in the audience


its brilliant touches


have made the old boy 's characters more quick-witted than any english lit


the look and the period trappings right


's really just another major league


handed down


hollywood horror


it 's like dying and going to celluloid heaven


duvall is strong as always .


she is a lioness , protecting her cub , and he a reluctant villain ,


a searing , epic treatment of a nationwide blight that seems to be ,


a bit too eager to please .


a film that affirms the nourishing aspects of love and companionship


one word that best describes this film : honest


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


molested


stands a good chance of being the big


at such a furiously funny pace


target practice


popcorn thriller


astoundingly rich film


are certainly


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


what ( denis ) accomplishes in his chilling , unnerving film is a double portrait of two young women whose lives were as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned .


loosely-connected string


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


max pokes , provokes , takes expressionistic license and hits a nerve


imagine anybody being able to tear their eyes away from the screen


with an elegance and maturity


's still unusually crafty and intelligent for hollywood horror


movie that leaves vague impressions and a nasty aftertaste but little clear memory of its operational mechanics


presented with universal appeal


mr. nachtwey has traveled to places in the world devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity .


shame on writer/director vicente aranda for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull


ruthless in its own placid way


robin williams , death to smoochy


it is japanese and yet feels universal


safe conduct is anything but languorous .


expressive


become strangely impersonal and abstract


rambles aimlessly through ill-conceived action pieces


should have ditched the artsy pretensions and revelled in the entertaining shallows


shining with all the usual spielberg flair


has n't lost a bit of the dry humor that first made audiences on both sides of the atlantic love him


that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past


of jason x


what it is -- a nice , harmless date film


far from heaven is a dazzling conceptual feat , but


the experience worthwhile


that werner herzog can still leave us with a sense of wonder at the diverse , marvelously twisted shapes history has taken


like quirky , odd movies and/or the ironic


shows the promise of digital filmmaking


amazing


to remarkable performances


is remarkably dull with only caine


romp that 's always fun to watch .


so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails


time is a beautiful film to watch , an interesting and at times captivating take on loss and loneliness .


makes for a touching love story , mainly because blanchett and ribisi compellingly tap into a spiritual aspect of their characters ' suffering .


ultimately too repellent to fully endear itself to american art house audiences , but it is notable for its stylistic austerity and forcefulness .


in its yearning for the days


allows the film to drag on for nearly three hours


the characterizations and dialogue lack depth or complexity , with the ironic exception of scooter .


would reach for a barf bag


a truly distinctive and a deeply pertinent film


gives gifts to grownups


as sexy beast


a good and ambitious film


dumb drug jokes and


pared down its plots and characters to a few rather than dozens


value and respect


do n't notice the 129-minute running time


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


through a sad , sordid universe of guns , drugs , avarice and damaged dreams


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


as shameful


tenderness


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


the rat-a-tat energy of `` his girl friday , '' maintaining a light touch while tackling serious themes


is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings .


seriously dumb characters , which somewhat dilutes the pleasure of watching them


of fun


sluggish , tonally uneven .


can not mount a cogent defense of the film as entertainment , or even performance art , although the movie does leave you marveling at these guys ' superhuman capacity to withstand pain