a good music documentary , probably one of the best since the last waltz


best describes this film : honest


fresh , sometimes funny


aggravating and tedious


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


've had the misfortune to watch in quite some time


comic sparks


on the subgenre


fast-paced contemporary society


satisfyingly odd and intriguing


a purposefully reductive movie


that it goes nowhere


a disaster of a drama , saved only by its winged assailants .


if kaos had n't blown them all up


scott baio is turning in some delightful work on indie projects .


emphasized


obnoxious special effects


's been done before but never so vividly or with so much passion


boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape


a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences


a satisfying evening at the multiplex


a low-budget affair


uplifting ,


infuriating about full frontal


to duck the very issues it raises


derrida is all but useless


of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world


subtle and


deserve a passing grade ( even on a curve )


that is where ararat went astray .


has the high-buffed gloss and high-octane jolts you expect of de palma , but what makes it transporting is that it 's also one of the smartest


spinoff of last summer 's bloated effects


completely misses its emotions


that make 105 minutes seem twice as long


does n't have much panache , but with material this rich it does n't need it


of dedicated artists


the richness of characterization that makes his films so memorable


their cheap , b movie way


the film is static


render it anything but laughable


live-wire


conventional but heartwarming tale


be so light-hearted


no worse


listless , witless , and devoid of anything


by orchestrating a finale that is impenetrable and dull


it 's been 13 months and 295 preview screenings since i last walked out on a movie , but


filling nearly every minute ...


wickedly funny , visually engrossing , never boring , this movie


beyond-lame satire


's better than its predecessor


what is otherwise a sumptuous work of b-movie imagination


offers escapism


pretty stupid


it 's just tediously bad , something to be fully forgotten


our special talents can be when put in service of of others


the film is grossly contradictory in conveying its social message , if indeed there is one .


since beauty and the beast


nasty aftertaste but


hugely enjoyable in its own right though not really faithful


overall , it 's a very entertaining , thought-provoking film with a simple message


stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .


bad mixture


cinematic corpse


ends up more of a creaky `` pretty woman '' retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought


amazingly successful


there 's a reason the studio did n't offer an advance screening .


gives ample opportunity for large-scale action and suspense ,


88 minutes of exaggerated action


do not go gentle into that good theatre . '


and immature character


the most politically audacious films of recent decades


is the only winner


to blast even the smallest sensitivities from the romance with his clamorous approach


is hard to conceive anyone else in their roles .


overcome bad hair design


does n't really go anywhere


the rhapsodic dialogue that jumps off the page , and for the memorable character creations


misery


the glorious chicanery and self-delusion


to rush to the theater for this one


manages to string together enough charming moments to work .


most romantic comedies


ultimately insignificant


not-so-divine


be patient with the lovely hush


remarkably assured


trudge out of the theater feeling


300 hundred years of russian cultural identity and a stunning technical achievement


we are forced to reflect that its visual imagination is breathtaking


washed out


by top-billed star bruce willis


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


the occasional bursts


wise enough


this so-called satire


is really closer to porn than a serious critique of what 's wrong with this increasingly pervasive aspect of gay culture .


rock 's stand-up magic wanes .


bombastic self-glorification


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


its excellent storytelling ,


zeal


sinks into an abyss of clichés , depression and bad alternative music


too many conflicts


wretchedly unfunny wannabe


advised to take the warning literally , and log on to something more user-friendly


retard 101


a wild comedy


a comic book with soul


done , but slow


must indeed be good to recite some of this laughable dialogue with a straight face


are consistently delightful .


could n't


raffish charm


that 's unfocused and tediously exasperating


pull his head out of his butt


one hour photo may seem disappointing in its generalities


to hold onto what 's left of his passe ' chopsocky glory


is not a classical dramatic animated feature , nor a hip , contemporary , in-jokey one .


marvelous first 101


interesting movie


a way that 's too loud , too goofy and too short of an attention span


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


its initial excitement settles into a warmed over pastiche .


so memorable


who does n't understand the difference between dumb fun and just plain dumb


date-night diversion


it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction


meyjes ' provocative film might be called an example of the haphazardness of evil .


kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor


it 's as if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese .


loss


invigorating


puerile


, can not overcome blah characters


indie of the year , so far


i suspect this is the kind of production that would have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd .


gentle and engrossing


than its sunny disposition


gaining most of its unsettling force from the suggested and the unknown


an energizing


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


confusing on one level or another , making ararat far more demanding than it needs to be


's the funniest american comedy since graffiti bridge .


heartwarming here relies less on forced air than on petter næss ' delicate , clever direction ... and a wonderful , imaginative script by axel hellstenius .


uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them .


is so convincing


meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story


the process created a masterful work of art of their own


love the film


though frida is easier to swallow than julie taymor 's preposterous titus , the eye candy here lacks considerable brio .


wanders all over the map thematically and stylistically , and borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own .


i.e. peploe 's , it 's simply unbearable


aggressive self-glorification and a manipulative whitewash .


mummy and the mummy returns


too overdone


's the perfect star vehicle for grant


in a light-hearted way the romantic problems


an inept , tedious spoof of '70s


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


dramatic and emotional


screen presence


too shallow for an older one


film legacy


, magnificent to behold in its sparkling beauty yet in reality it 's one tough rock .


cool gadgets and creatures


finery


takes every potential laugh and


would do better elsewhere .


reassures us


one of the best war movies ever made


horrible , 99-minute


a very depressing movie


the film is well-crafted and


there 's undeniable enjoyment to be had from films crammed with movie references


terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and


depraved


found writer-director mitch davis 's wall of kitsch hard going .


fun in this cinematic sandbox


a major movie


attempt to bring cohesion to pamela 's emotional roller coaster life


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


that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure


many false scares


stupidity , incoherence and sub-sophomoric sexual banter


who take as many drugs as the film 's characters


i realized that i just did n't care


amélie 's audrey tautou with another fabuleux destin


its laid-back way


its lack of poetic frissons


ever spill from a projector 's lens


no earthly reason other than money why this distinguished actor would stoop so low


half past dead -- or for seagal


art and commerce


an astonishing voice cast ( excepting love hewitt )


from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed


is no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract


the talented cast alone will keep you watching , as will the fight scenes .


a biting satire that has no teeth


does n't have anything really interesting to say


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


every member of the ensemble has something fascinating to do


fans of plympton 's shorts may marginally enjoy the film ,


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


like the similarly ill-timed antitrust


leaping from one arresting image to another , songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .


superb performance


funny stuff in this movie


to head off in its own direction


the most part a useless movie , even with a great director at the helm


'll still be glued to the screen .


finely crafted ,


until things fall apart


dime-store psychology


do n't add up to much more than trite observations on the human condition


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


marks an encouraging new direction for la salle


to bolt the theater in the first 10 minutes


adept


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


a solidly entertaining and moving family drama


an almost palpable sense of intensity


such a horrible movie


incoherent jumble


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


get it


a single surprise


biggest husband-and-wife disaster


like a sucker


rob schneider 's infantile cross-dressing routines fill the hot chick , the latest gimmick from this unimaginative comedian .


an intoxicating show


passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly


a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer


hardly a film that comes along every day .


and wonderful creatures


it might not be 1970s animation , but everything else about it is straight from the saturday morning cartoons -- a retread story , bad writing , and the same old silliness .


to match the freshness of the actress-producer and writer


a movie with depth


it may scream low budget , but this charmer has a spirit that can not be denied .


best rock


a clash between the artificial structure of the story and the more contemporary , naturalistic tone of the film


below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .


ends with scenes so true and heartbreaking that tears welled up in my eyes both times


third time 's the charm ... yeah , baby !


you might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .


in this romantic comedy


a real audience-pleaser that will strike a chord with anyone who 's ever


is far-flung , illogical , and plain stupid .


does n't deliver a great story , nor


zellweger 's whiny pouty-lipped poof


a bitter taste


seems to want to be a character study , but apparently ca n't quite decide which character .


of cuban leader fidel castro


has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references


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


skins is heartfelt and achingly real .


their culture 's manic mix of millennial brusqueness and undying , traditional politesse


originality ai n't on the menu


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


it was a guilty pleasure


stylistically


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


forewarned , if you 're depressed about anything before watching this film


's a very valuable film ...


clever ideas and visual gags


should be themselves


's harder still to believe that anyone in his right mind would want to see the it .


some robust and scary entertainment


that this is a mormon family movie , and a sappy , preachy one at that


jazzy new revisionist theories


is more likely to induce sleep than fright .


the one of the world 's best actors , daniel auteuil ,


the frustration ,


bad and baffling from the get-go .


complex characters


not be a breakthrough in filmmaking


would n't want to live waydowntown


the film is deadly dull


i 'd watch these two together again in a new york minute .


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


stylish cast


sinks further and further into comedy futility .


genuine love story


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


has worked wonders with the material


than this facetious smirk of a movie


knows its classical music


through this interminable , shapeless documentary about the swinging subculture


fairly impressive debut


much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart .


is more timely now than ever


but it also does the absolute last thing we need hollywood doing to us


fantasti


dabbles all around , never gaining much momentum .


honest , and enjoyable


intoxicating documentary


dependable concept


a visual treat for all audiences


the cast is spot on


delicate ambiguity


weaves us into a complex web


generating suspense


gentle , endearing 1975 children 's novel


any doubt that peter o'fallon did n't have an original bone in his body


sexist


genteel and unsurprising


their own immaturity


is so earnest that it 's hard to resist his pleas to spare wildlife and respect their environs .


for its intelligence and intensity


funny , moving yarn


should be as entertaining as it is


stanley kwan has directed not only one of the best gay love stories ever made


worthless ,


the audience award for documentaries at the sundance film festival


viewers out in the cold and


kinetically-charged spy flick worthy


like mere splashing around


the most enchanting film


the overall vibe is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors .


cliched dialogue and perverse escapism a source of high hilarity


a great movie it is not


, like mike raises some worthwhile themes while delivering a wholesome fantasy for kids .


plaguing the human spirit in a relentlessly globalizing world


the bravery and dedication


the edge of your seat for long stretches


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


dopey dialogue and


does turn out to be a bit of a cheat in the end


whose meaning and


follows into melodrama and silliness


overcome blah characters


hard to imagine having more fun watching a documentary ...


fun family fare


the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one ) .


the lightest , most breezy movie steven spielberg has made in more than a decade .


does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes .


playfully profound ... and


it recycles every cliché about gays in what is essentially an extended soap opera .


a tarantino movie with heart


by casting an actress whose face projects that woman 's doubts and yearnings


baked


lasting impression


difficult , endless work


a shock-you-into-laughter intensity


melodramatic movie


has ( its ) moments


that he 's the best brush in the business


, very well told with an appropriate minimum of means .


the premise of `` abandon '' holds promise ,


must have failed


a fake street drama that keeps telling you things instead of showing them


with lots of somber blues and pinks


losin '


loquacious and dreary piece


, invincible shows he 's back in form , with an astoundingly rich film .


crawl up your own *** in embarrassment


dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


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


on offensive , waste of time , money and celluloid


has many of the things that made the first one charming


to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances


run-of-the-mill singles blender


mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time


like its new england characters , most of whom wander about in thick clouds of denial , the movie eventually gets around to its real emotional business , striking deep chords of sadness .


a clever


awfully entertaining


does not translate well to the screen


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


psychotic than romantic


also has a good ear for dialogue , and the characters sound like real people .


a cellophane-pop remake


it 's funny , touching , dramatically forceful , and beautifully shot .


pushed to their most virtuous limits , lending the narrative an unusually surreal tone


leaks treacle from every pore .


boasts some tart tv-insider humor


remarkable film


waydowntown may not be an important movie , or even a good one , but it provides a nice change of mindless pace in collision with the hot oscar season currently underway .


capable cast


the run-of-the-mill singles blender


both gripping and compelling


sparked by two actresses in their 50s working at the peak of their powers


them , who have carved their own comfortable niche in the world


on a true and historically significant story


if you like quirky , odd movies and/or the ironic


a well-defined sense


the consciously dumbed-down approach


could be looking at his 12th oscar nomination by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary


is a filmmaker of impressive talent


flick that scalds like acid .


's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .


a landmark


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


with a terrific screenplay and fanciful direction


meaningful


has a rather unique approach to documentary .


the haphazardness of evil


the film has several strong performances .


whose boozy , languid


a meatier deeper beginning


the plot grows thin soon , and you find yourself praying for a quick resolution


most creative , energetic and original


epic cinema


has n't graduated from junior high school


a film that is an undeniably worthy and devastating experience


a treasure chest of material


an intelligent romantic thriller of a very old-school kind of quality .


try to create characters out of the obvious cliches , but wind up using them as punching bags


for a satisfying evening at the multiplex


it was going to be


reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world


the bard as black comedy -- willie would have loved it


a damn fine and a truly distinctive and a deeply pertinent film


that hinges on the subgenre 's most enabling victim ... and an ebullient affection for industrial-model meat freezers


yelling in your face for two hours


will undoubtedly enjoy it


walk to remember


moderately successful but


becomes a soulful , incisive meditation on the way we were , and the way we are


, its shortness disappoints


succeeds in entertaining ,


shows off a lot of stamina and vitality


this fast-paced


end up laughing


a smile


an unintentionally surreal kid 's picture ... in which actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode


that it makes you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary


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


oversexed , at times overwrought comedy/drama that offers little insight into the experience of being forty , female and single .


makes sex with strangers , which opens today in the new york metropolitan area , so distasteful


eight legged freaks ?


in milking a played-out idea -- a straight guy has to dress up in drag -- that shockingly manages to be even worse than its title


that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation


like kubrick before him , may not touch the planet 's skin , but understands the workings of its spirit .


a walk to remember a niche hit


, accepting a 50-year-old in the role is creepy in a michael jackson sort of way .


welcome in her most charmless


the otherwise good-naturedness of mr. deeds , with its embrace of sheer goofiness and cameos of less - than-likely new york celebrities ... certainly raises the film above anything sandler 's been attached to before .


hollywood comedies such as father of the bride


get no satisfaction


it is wise


brings this unknown slice of history affectingly to life


this one feels like a life sentence


a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day


anyone else who may , for whatever reason , be thinking about going to see this movie


good yarn


is not show-stoppingly hilarious , but scathingly witty nonetheless


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


mysterious , sensual , emotionally intense , and


gets the job done


one of the funniest motion pictures of the year , but


none of the happily-ever


the evocative imagery and gentle , lapping rhythms of this film are infectious -- it gets under our skin and draws us in long before the plot kicks into gear


very satisfying


in the name of an allegedly inspiring and easily marketable flick


gooding is the energetic frontman


film about growing up that we do n't see often enough these days


naturally charming


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


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


petter næss ' delicate , clever direction


remarkably dull with only caine


the characters have a freshness and modesty that transcends their predicament .


to a climax that 's scarcely a surprise by the time


feels like a prison stretch


secretary


of that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls


visually atrocious , and often downright creepy


come with the warning ``


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


a soulless hunk


conventional but heartwarming


unencouraging


big screen magic


not smart and not engaging


of good acting


bitter and truthful


also the unique way shainberg goes about telling what at heart is a sweet little girl


after seeing the film , i can tell you that there 's no other reason why anyone should bother remembering it .


people act weird


rote work and predictable


an obvious copy of one of the best films ever made , how could it not be ?


this film that may not always work


as a chance to revitalize what is and always has been remarkable about clung-to traditions


entertaining on an inferior level


young american


on all levels


one of the better video-game-based flicks ,


except maybe for the last 15 minutes , which are as maudlin as any after-school special you can imagine


african-americans because of its broad racial insensitivity towards african-americans


we have a bad , bad , bad movie


flails


for the most part , credible


's one of the most beautiful , evocative works i 've seen .


broken characters


a winning piece of work


digs into their very minds


good , solid storytelling .


polished


the sort of picture in which , whenever one of the characters has some serious soul searching to do , they go to a picture-perfect beach during sunset .


of a love affair


tasteful to look at


devito 's misanthropic vision


perfect movie


little catch


pauly shore awful


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


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


tapping into our reality tv obsession , and even tardier


in all its director 's cut glory ,


that loses sight of its own story


grace and panache


engaging and exciting


is suspenseful and ultimately unpredictable , with a sterling ensemble cast


of a frustrating misfire


as subtle and as enigmatic


dull , spiritless , silly and monotonous


gorgeous to look at but insufferably tedious and turgid


goofy ( if not entirely wholesome ) fun


get all five


magnificent to behold in its sparkling beauty yet in reality it 's one tough rock .


is a fine , understated piece of filmmaking .


a coming-of-age tale from new zealand whose boozy , languid air is balanced by a rich visual clarity and deeply felt performances across the board .


's an observant , unfussily poetic meditation about identity and alienation .


updates the setting in an attempt to make the film relevant today , without fully understanding what it was that made the story relevant in the first place .


acidic all-male


inimitable diaz


had some success with documentaries


take his smooth , shrewd , powerful act


if you 've the patience , there are great rewards here .


that there is nothing distinguishing in a randall wallace film


frosting


the usual whoopee-cushion effort


entertaining , if ultimately minor , thriller


'm going to give it a marginal thumbs up


lazily directed by charles stone iii ... from a leaden script by matthew cirulnick and novelist thulani davis .


mediterranean sparkles


leers ,


the film does n't end up having much that is fresh to say about growing up catholic or , really , anything .


want to pack raw dough in my ears


been sent back to the tailor for some major alterations


to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them


nurtures the multi-layers of its characters , allowing us to remember that life 's ultimately a gamble and last orders are to be embraced .


well-made pizza


earnestness


mind-numbingly


go-for-broke acting that heralds something special


for a few comic turns


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


is sure to win viewers ' hearts


does n't try to surprise us with plot twists , but rather


pushes too hard to make this a comedy or serious drama


emerge dazed , confused as to whether you 've seen pornography or documentary .


junk-calorie


leave it to john sayles to take on developers , the chamber of commerce , tourism , historical pageants ,


is engage an audience


think most of the people who loved the 1989 paradiso will prefer this new version


one that typifies the delirium of post , pre , and extant stardom


swept away


with a serious minded patience , respect and affection


the huskies are beautiful


a dark pit


here ... not that i mind ugly ; the problem is he has no character , loveable or otherwise .


minority report


its subject matter in a tasteful , intelligent manner


troubling and powerful


hooting it 's praises


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


a skillfully assembled , highly polished and professional adaptation ...


, clever


a unique , well-crafted psychological study of grief


this cross-cultural soap opera is painfully formulaic and stilted .


a well-deserved reputation as one of the cinema world 's great visual stylists


it 's a feel-good movie about which you can actually feel good .


singer/composer bryan adams contributes a slew of songs -- a few potential hits , a few more simply intrusive to the story -- but the whole package certainly captures the intended , er , spirit of the piece .


like watching an alfred hitchcock movie after drinking twelve beers


their own brightly colored dreams


splashy and entertainingly nasty


its hard to imagine having more fun watching a documentary ...


feel-bad ending


chan wades through putrid writing , direction and timing with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master . '


not a bad way


member


, paid in full has clever ways of capturing inner-city life during the reagan years .


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


in that oh-so-important category , the four feathers comes up short


you wo n't find anything to get excited about on this dvd .


cox offers plenty of glimpses at existing photos , but there are no movies of nijinsky , so instead the director treats us to an aimless hodgepodge .


something as splendid-looking as this particular film


there are some movies that hit you from the first scene and you know it 's going to be a trip .


unexpectedly sweet


the right time in the history of our country


his chemistry with shimizu is very believable


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


such a wildly uneven hit-and-miss enterprise , you ca n't help suspecting that it was improvised on a day-to-day basis during production .


with nary a glimmer of self-knowledge , ( crane ) becomes more specimen than character -- and auto focus remains a chilly , clinical lab report .


too grave for youngsters


fabuleux


on the economics of dealing and the pathology of ghetto fabulousness


on the banality and hypocrisy of too much kid-vid


could hardly


are of the highest and the performances attractive without being memorable


let 's see , a haunted house , a haunted ship , what 's next ... ghost blimp


stevens ' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .


a creepy , intermittently powerful study


set the women 's liberation movement back 20 years


inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable


a great film


meeting , even exceeding expectations


unique and entertaining twist


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


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


making it one of the best war movies ever made


listless , witless


of fun or energy


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


... feels as if ( there 's ) a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .


for bathroom breaks


pleasurable expressions


a frustrating ` tweener ' --


have a hard time


sprung from such a great one


nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart .


a strong sense of humanism


fun and enjoyable


a riot-control projectile or my own tortured psyche


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


incoherence and


traps audiences in a series of relentlessly nasty situations that we would pay a considerable ransom not to be looking at


good at being the ultra-violent gangster wannabe


is a nicely handled affair , a film about human darkness but etched with a light ( yet unsentimental ) touch


sheerly beautiful film


time out offers an exploration that is more accurate than anything i have seen in an american film .


be going through the motions , beginning with the pale script


incredibly thoughtful


who inhabit it


a weary journalist


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


went over my head


successful example


served by the movie 's sophomoric blend of shenanigans and slapstick , although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a ` topless tutorial service


a nagging sense


as lumpy as two-day old porridge


of the best actors there is


there are also some startling , surrealistic moments


post-september 11 , `` the sum of all fears '' seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .


ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot


burns ' fifth beer-soaked film feels in almost every possible way -- from the writing and direction to the soggy performances -- tossed off .


to the point of distraction


that have reinvigorated the romance genre


of the self-esteem of employment and the shame of losing a job


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


cringe


funny yet dark


a major waste ... generic .


a bad movie that happened to good actors .


a crowd-pleaser ,


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


vonnegut


the film , despite the gratuitous cinematic distractions impressed upon it , is still good fun .


asks nothing of the audience other than to sit back and enjoy a couple of great actors hamming it up


of daring films


of an impression


like a copout


are all more than competent


`` shakes the clown '' , a much funnier film with a similar theme and


the hearts of animation enthusiasts of all ages


that it is laughingly enjoyable


amusing nor dramatic enough to sustain interest


intensely romantic , thought-provoking and even an engaging mystery .


the effort is sincere and the results are honest , but the film is so bleak that it 's hardly watchable .


retelling


am not generally a huge fan of cartoons derived from tv shows , but hey arnold !


( the film 's ) taste for `` shock humor '' will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers


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


's also nice to see a movie with its heart so thoroughly ,


the attention process tends to do a little fleeing of its own .


more revealing , more emotional and more surprising


timeout


is the most disappointing woody allen movie ever .


there is something that is so meditative and lyrical 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


a big meal of cliches that the talented cast generally chokes on .


dim-witted and lazy


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


skillful


did , with a serious minded patience , respect and affection


easily accessible stories that resonate with profundity


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


kouyate elicits strong performances from his cast , and he delivers a powerful commentary on how governments lie , no matter who runs them .


you 've already seen city by the sea under a variety of titles


nearly terminal


mean-spirited and wryly observant .


terminally bland , painfully slow


o fantasma is boldly , confidently orchestrated , aesthetically and sexually , and its impact is deeply and rightly disturbing .


various characters express their quirky inner selves


finally move away from his usual bumbling , tongue-tied screen persona


zoning ordinances to protect your community from the dullest science fiction


stiflingly


the station looking for a return ticket to realism


and game phenomenon


aggravating


the sturdiest example yet


a bunch of talented thesps slumming it


be depressing


so potent


which presses familiar herzog tropes into the service of a limpid and conventional historical fiction , when really what we demand of the director


when a movie has stuck around for this long , you know there 's something there .


hollow at its emotional core


that 'll be much funnier than anything in the film ...


solid job


but they 're simply not funny performers


a half-assed film .


no clear-cut hero and no all-out villain


into a smart new comedy


pay reparations to viewers


beaten


the best sequel since the empire strikes back ... a majestic achievement , an epic of astonishing grandeur and surprising emotional depth


affectionate delight


an authentically vague , but ultimately purposeless , study in total pandemonium .


surprisingly charming and


to end on a positive ( if tragic ) note


visit , this laboratory of laughter


as a landmark in film history


rough edges


the humor , characterization , poignancy , and intelligence of a bad sitcom


the greatest natural sportsmen


pretty and gifted


a wal-mart budget


annoying score


, straining to get by on humor that is not even as daring as john ritter 's glory days on three 's company .


an impenetrable and insufferable ball


that encompasses many more paths than we started with


much of the movie 's charm lies in the utter cuteness of stuart and margolo .


is marveilleux


acts light on great scares and a good surprise ending


( gayton 's script ) telegraphs every discovery and layers on the gloss of convenience .


that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting


, mayhem and stupidity


freedom


best enjoyed as a work of fiction inspired by real-life events .


's ) a clever thriller with enough unexpected twists to keep our interest .


the problem with wendigo


, the movie is rather choppy .


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


a solid pedigree both in front of and , more specifically , behind the camera


rushed , slapdash , sequel-for-the-sake


probe questions of attraction and interdependence


dreary tale


would benigni 's italian pinocchio have been any easier to sit through than this hastily dubbed disaster


fascinates


sucks you in and


a formula family tearjerker told with a heavy irish brogue ... accentuating , rather than muting , the plot 's saccharine thrust .


feel like the movie 's various victimized audience members after a while


in-your-face family drama and black comedy


resembles an outline for a '70s exploitation picture than the finished product


unrewarding all of this


fancy


flat characters


i liked the movie , but i know i would have liked it more if it had just gone that one step further


most purely enjoyable and satisfying evenings


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


is still a cinematic touchstone .


very sweet


a-list director


fun and funny in the middle , though


but it was n't horrible either


you 'd want to smash its face in


'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 .


shtick


the endlessly repetitive scenes of embarrassment


an enthusiastic audience


not only satisfied


morality tale


gripping performances


a lazy exercise


keep you wide awake and


into your heart


dazzling pop entertainment


the good-time shenanigans


even if you 've never heard of chaplin , you 'll still be glued to the screen .


pan nalin 's exposition is beautiful and mysterious ,


resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue


holds a certain charm


stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise , and the large cast is solid


the perfect cure


of bible parables and not an actual story


the best sex comedy


a movie that is n't just offensive


incisive and sensitive


is difficult to fathom


, apparently nobody here bothered to check it twice .


is hard to dismiss -- moody , thoughtful , and lit by flashes of mordant humor .


are n't your bailiwick


beautifully shot , delicately scored and powered by a set of heartfelt performances , it 's a lyrical endeavor .


maelstrom is strange and compelling , engrossing and different ,


bawdy


been made with an enormous amount of affection


for whom she shows little understanding


funniest and most likeable movie in years


the full monty was a freshman fluke


good


about half of them are funny , a few are sexy and none are useful in telling the story , which is paper-thin and decidedly unoriginal .


apart is the vision that taymor , the avant garde director of broadway 's the lion king and the film titus , brings .


trying to break your heart an attraction it desperately needed


dreary , humorless soap opera


the story really has no place to go since simone is not real -- she ca n't provide any conflict


so rich with period minutiae


that deserved better than a ` direct-to-video ' release


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


of adolescent violence


it 's a shame the marvelous first 101 minutes have to be combined with the misconceived final 5 .


... ( the film ) works , due mostly to the tongue-in-cheek attitude of the screenplay .


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


chris columbus ' sequel is faster , livelier and a good deal funnier than his original .


leaden and dull


a lasting impression


a trend long overdue


is a poem to the enduring strengths of women


entertaining mix


ultimately coheres into a sane and breathtakingly creative film


is a kind of perpetual pain


satisfied


's nothing here that they could n't have done in half an hour


improves


be entertained by


some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone


simple and precise that anything discordant would topple the balance


, the film is well worthwhile .


good vampire tale


cheesiest


a deliciously nonsensical comedy


of satisfying entertainment


like leafing through an album of photos


narcissism and


burns


cram too many ingredients into one small pot


is n't necessarily an admirable storyteller


the shadowy lighting


mutates into a gross-out monster movie with effects that are more silly than scary .


arrives at its heart , as simple self-reflection meditation .


evil dead ii


winning


this rich


give shapiro , goldman , and bolado credit for good intentions , but


never seems aware of his own coolness


french director anne fontaine delivers an inspired portrait of male-ridden angst and the emotional blockage that accompanies this human condition


a not-so-divine secrets of the ya-ya


as before , from the incongruous but chemically perfect teaming of crystal and de niro


a respectable summer blockbuster


does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes


, state property does n't end up being very inspiring or insightful .


dollars


wise men


a masterpeice


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


unforgettable characters


an assurance worthy of international acclaim


blood


a great deal of thought


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


a uniquely sensual metaphorical dramatization


nasty journey


it should be interesting


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


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


putrid writing , direction and timing with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master .


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


thoroughly enjoyable , heartfelt


trenchant satirical jabs


its and pieces of the hot chick are so hilarious , and schneider 's performance is so fine


fall 's


fast paced and suspenseful argentinian thriller


some modest amusements


illiterate


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


an average b-movie with no aspirations


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


get by on humor that is not even as daring as john ritter 's glory days on three 's company


there is simply no doubt that this film asks the right questions at the right time in the history of our country .


forgive any shoddy product as long as there 's a little girl-on-girl action


some special qualities and


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


, hélène angel is definitely a director to watch .


are cast adrift in various new york city locations with no unifying rhythm or visual style .


meaningless , vapid and devoid


an ` action film '


finding the characters in slackers or their antics amusing , let alone funny


appealing enough to probably have a good shot at a hollywood career , if they want one


a naturally funny film , home movie makes you crave chris smith 's next movie .


let 's see , a haunted house , a haunted ship , what 's next


not only is entry number twenty the worst of the brosnan bunch , it 's one of the worst of the entire franchise .


in these characters ' foibles a timeless and unique perspective


some very good acting


a thoroughly engaging , surprisingly touching british comedy


there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending .


filmed directly from a television monitor


pros


be careful what you wish for


's as sorry a mess as its director 's diabolical debut , mad cows .


openness ,


a guy with his talent ended up in a movie this bad


his clamorous approach


ambitious , eager


was funny


tailor-made


more experimental in its storytelling


into a believable mother/daughter pair


crafted here a worldly-wise and very funny script


quirky , off-beat project


every visual joke is milked , every set-up obvious and lengthy


really quite funny


uneasy bonds


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


real filmmaker 's


's just another cartoon with an unstoppable superman .


in the tries-so-hard-to-be-cool `` clockstoppers


fire


that could have been much better


just a string of stale gags , with no good inside dope , and no particular bite


subtly different


exploitative and largely devoid


thumbs down


christmas perennial


funnier film


some laughs in this movie


that refreshes the mind and spirit along with the body


's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah .


makes


kiddie entertainment , sophisticated wit and


but a little too smugly superior


, it 's still tainted by cliches , painful improbability and murky points .


to the most crucial lip-reading sequence


make you laugh


you might imagine that most every aggrieved father cliché has been unturned .


with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins .


philosophers , not


it 's very much like life itself .


are sweet and believable


stands as one of the year 's most intriguing movie experiences , letting its imagery speak for it while it forces you to ponder anew what a movie can be .


as the old-hat province of male intrigue


excruciating


a filmmaker to let this morph into a typical romantic triangle


its easily dismissive


a few ear-pleasing songs on its soundtrack


those terrific documentaries


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


a subtle , humorous , illuminating study of politics , power and social mobility .


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


writer and director otar iosseliani 's pleasant tale about a factory worker who escapes for a holiday in venice reveals how we all need a playful respite from the grind to refresh our souls .


too steeped in fairy tales and other childish things


in pain


beautifully acted


holds interest in the midst of a mushy , existential exploration of why men leave their families


( d ) espite its familiar subject matter , ice age is consistently amusing and engrossing ...


improbable as this premise may seem


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


barely shocking , barely interesting and most of all


the highest power of all is the power of love


canadian filmmaker gary burns ' inventive and mordantly humorous


terrific setpieces


botches


amateurish , quasi-improvised


i love it ... hell , i dunno .


of a genre gem


very well-meaning


stuffs his debut


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


a little violence and lots of sex in a bid to hold our attention


is one of the most repellent things to pop up in a cinematic year already littered with celluloid garbage .


this is the kind of movie that you only need to watch for about thirty seconds before you say to yourself , ` ah , yes ,


a plot as musty as one of the golden eagle 's carpets


another routine hollywood frightfest in which the slack execution italicizes the absurdity of the premise


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


anything but laughable


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


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


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


in the end , the weight of water comes to resemble the kind of soft-core twaddle you 'd expect to see on showtime 's ` red shoe diaries . '


splendidly illustrates the ability of the human spirit to overcome adversity .


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


a couple of great actors hamming it up


has the stomach-knotting suspense of a legal thriller


distinctly sub-par ... more likely to drown a viewer in boredom than to send any shivers down his spine .


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


many of these guys are less than adorable


a mean-spirited film


a suffocating rape-payback horror show that hinges on the subgenre 's most enabling victim ... and an ebullient affection for industrial-model meat freezers .


bielinsky is a filmmaker of impressive talent .


real poignancy


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


pass this stinker


that serves as a painful elegy and sobering cautionary tale


of the most plain , unimaginative romantic comedies i


it is ok for a movie to be something of a sitcom apparatus


a story that zings all the way through with originality , humor and pathos


a film centering on a traditional indian wedding in contemporary new delhi may not sound like specialized fare , but mira nair 's film is an absolute delight for all audiences .


archly funny


but still entertaining


entertaining to watch the target practice


it just does n't have anything really interesting to say .


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


his work with actors is particularly impressive .


it 's plotless , shapeless --


poetic force


while dutifully pulling on heartstrings , directors dean deblois and chris sanders valiantly keep punching up the mix .


as i 've seen in a while , a meander through worn-out material


originality ai n't on the menu , but there 's never a dull moment in the giant spider invasion comic chiller .


the emperor 's club , ruthless in its own placid way , finds one of our most conservative and hidebound movie-making traditions and gives it new texture , new relevance , new reality .


the film ultimately fails


( tsai 's ) masterpiece


unleashes


endless trailer


yet another arnold vehicle that fails to make adequate use of his particular talents .


a fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system


does n't capture the effect of these tragic deaths on hip-hop culture


no , i hate it .


real women may have many agendas , but it also will win you over , in a big way


has enough gun battles and throwaway humor to cover up the yawning chasm where the plot should be .


kind , unapologetic


`` suck ''


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


impressive style


an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling


one big blustery movie


a bad improvisation exercise


the dimming of a certain ambition


writer-director randall wallace has bitten off more than he or anyone else could chew , and his movie veers like a drunken driver through heavy traffic


this visual trickery


for the best of hollywood 's comic-book


will be something to behold


is a visual treat for all audiences


succeeds in delivering a dramatic slap in the face that 's simultaneously painful and refreshing .


painless


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


a compelling yarn , but not quite a ripping one


sometimes quite funny


any sexual relationship that does n't hurt anyone and works for its participants is a relationship that is worthy of our respect


of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties


a genteel , prep-school quality that feels dusty and leatherbound


surprising emotional depth


the tiresome rant


a barely tolerable slog over well-trod ground


an aimless hodgepodge


convey a strong sense of the girls ' environment


a handsome and well-made entertainment


are reflected in almost every scene


are tantamount to insulting the intelligence of anyone who has n't been living under a rock


imagine ( if possible ) a pasolini film without passion or politics , or an almodovar movie without beauty or humor , and you have some idea of the glum , numb experience of watching o fantasma .


's yet another cool crime movie that actually manages to bring something new into the mix


tenderly observant of his characters


as a dystopian movie


digs beyond the usual portrayals of good kids and bad seeds to reveal a more ambivalent set of characters and motivations


guts and


do n't manage an equally assured narrative coinage


acquires an undeniable entertainment value


a whale of a good time for both children and parents seeking christian-themed fun .


freaks


too insistent


laughably unconvincing


expertly


is matched only by the ridiculousness of its premise .


this ready-made midnight movie probably wo n't stand the cold light of day , but under the right conditions , it 's goofy ( if not entirely wholesome ) fun


a dungpile


spiritually


can go home again


the message is too blatant


a sweet and modest


is very choppy and monosyllabic despite the fact that it is being dubbed


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


the horrible pains


it 's hard to imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb .


is awful


its solemn pretension


while somewhat less than it might have been , the film is a good one


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


altered


it is handled with intelligence and care


being bored


its fans are hoping it will be , and in that sense is a movie that deserves recommendation


kicks that it ends up being surprisingly dull


the movie keeps coming back to the achingly unfunny phonce and his several silly subplots .


realize that we really have n't had a good cheesy b-movie playing in theaters since ... well ... since last week 's reign of fire


it 's definitely not made for kids or their parents , for that matter , and


a dash of the avant-garde fused with their humor


a straight face


is the needlessly poor quality of its archival prints and film footage


bad cinema


yields surprises .


this dream hispanic role


make it an above-average thriller .


unlikable , spiteful idiots


headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film


easy to swallow , but scarcely nourishing


pile too many `` serious issues '' on its plate at times , yet


the screen to attract and sustain an older crowd


that place , that time


more simply intrusive to the story


outdated


it 's not entirely memorable


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


the ingenious construction ( adapted by david hare from michael cunningham 's novel )


anthropomorphic


like an oily arms dealer , squad car pile-ups and the requisite screaming captain


frailty will turn bill paxton into an a-list director


seriously bad film


in trying to have the best of both worlds it ends up falling short as a whole


impressive roster


innovators


it 's hard to quibble with a flick boasting this many genuine cackles , but notorious c.h.o. still feels like a promising work-in-progress .


a more annoying , though less angry


are sometimes inexpressive


there 's something fishy about a seasonal holiday kids ' movie ... that derives its moment of most convincing emotional gravity from a scene where santa gives gifts to grownups


enthusiastic audience


a series of relentlessly nasty situations


it also has a strong dramatic and emotional pull that gradually sneaks up on the audience


another genre exercise ,


it 's the worst movie of 2002


witlessness


great fun ,


from `` promising


wildly careening tone


who learns that believing in something does matter


larded with exposition


in that something 's horribly wrong


as the worst -- and only -- killer website movie of this or any other year


dry humor and jarring shocks , plus


at 90 minutes this movie is short , but it feels much longer .


as visually bland as a dentist 's waiting room


youthful , out-to-change-the-world aggressiveness


all its agonizing , catch-22 glory


engrossing


this delicate coming-of-age tale a treat


the artwork is spectacular


this a charmer


they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so


's not very interesting


revolutionary


most oddly honest


even the most jaded cinema audiences


given fair warning


greatest films


poetic force and buoyant feeling


birthday girl 's calculated events


into an ocean of trouble


moving and important film


had to endure last summer


what 's most offensive is n't the waste of a good cast ,


a clear sense of purpose


many moviegoers


remembered as one of ( witherspoon 's ) better films


is not show-stoppingly hilarious , but scathingly witty


to die for


a successful adaptation and an enjoyable film in its own right


worth your seven bucks


feel good about


in a caper that 's neither original nor terribly funny


chilling style


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


robotically


displays in freshening the play


with a tighter editorial process and firmer direction this material could work , especially since the actresses in the lead roles are all more than competent , but as is , personal velocity seems to be idling in neutral


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


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


little action


the characters are so generic and the plot so bland that even as rogue cia assassins working for chris cooper 's agency boss close in on the resourceful amnesiac , we do n't feel much for damon/bourne or his predicament .


into sub-tarantino cuteness


visually atrocious ,


, irrational , long-suffering but cruel


quickie tv special


clever script


sickly entertainment at best and mind-destroying cinematic pollution


are defeated by a screenplay that forces them into bizarre , implausible behavior


the collaborative process


the unexplainable pain


romantic-comedy duds


takashi miike keeps pushing the envelope : ichi the killer


its leaden acting , dull exposition and telegraphed ` surprises


intermittently good


perhaps even the slc high command found writer-director mitch davis 's wall of kitsch hard going .


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


highly studied


stuttering editing and pompous references


sad , soggy potboiler


of the worst movies of the year


sadly


the efforts of its star , kline , to lend some dignity to a dumb story


the day-old shelf


an admirable reconstruction of terrible events , and


surrounding us


reflective and


for ordinary louts whose idea of exercise is climbing the steps of a stadium-seat megaplex


much self-centered


which fly by so fast there 's no time to think about them anyway


it 's ) a clever thriller with enough unexpected twists to keep our interest .


could easily mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time


much colorful eye candy , including the spectacle of gere in his dancing shoes ,


denied her own athleticism by lighting that emphasizes every line and sag .


leaps over national boundaries and celebrates universal human nature


the same from taiwanese auteur tsai ming-liang , which is good news to anyone who 's fallen under the sweet , melancholy spell of this unique director 's previous films


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


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


hold society in place


like rudy yellow lodge , eyre needs to take a good sweat to clarify his cinematic vision before his next creation and remember the lessons of the trickster spider .


after seeing ` analyze that , ' i feel better already .


one of those reputedly `` unfilmable '' novels that has bucked the odds to emerge as an exquisite motion picture in its own right


traffics in tired stereotypes and encumbers itself with complications


more than that , it 's a work of enthralling drama


flagrantly


keeps the film grounded in an undeniable social realism


're looking for an intelligent movie in which you can release your pent up anger


makes minority report necessary viewing for sci-fi fans , as the film has some of the best special effects ever


colorful world


impressive achievement


some remarkable achival film about how shanghai ( of all places ) served jews who escaped the holocaust .


the worst of their shallow styles


has a kind of hard , cold effect


loveable or otherwise


is tragically rare in the depiction of young women in film


around to capture the chaos of france in the 1790 's


a high water mark


clever enough


the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms ... is a nonstop hoot


well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances


a good movie


is the kind of movie that deserves a chance to shine .


while it can be a bit repetitive , overall it 's an entertaining and informative documentary .


there is a real subject here , and it is handled with intelligence and care


also is n't embarrassed to make you reach for the tissues


chore to sit through -- despite some first-rate performances by its lead


makes the heart soar


played this story straight


the worst titles


deserves a better vehicle


an eviction notice


more than makes up for in drama , suspense , revenge , and romance


is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian


to transcend its clever concept


pretty listless collection


with a visually masterful work of quiet power


completely wreaked


even touch us


compressed into an evanescent , seamless and sumptuous stream of consciousness .


the wal-mart checkout line


'm convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking


doubt it


was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one ) .


viewers will wish there had been more of the `` queen '' and less of the `` damned . ''


of impressive talent


done before but never so vividly


his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it


ethan hawke 's strained chelsea walls


cherish


are undeniably touched .


getting into too many pointless situations


streamed across its borders


allows a gawky actor like spall -- who could too easily become comic relief in any other film -- to reveal his impressively delicate range


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


vainly , i think


needlessly opaque intro


is consistently


there 's something vital about the movie .


few sleepless hours


, albeit a visually compelling one ,


lets the movie dawdle in classic disaffected-indie-film mode


is that those responsible did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home .


, you know the picture is in trouble .


city by the sea is a gritty police thriller with all the dysfunctional family dynamics one could wish for .


it 's a lyrical endeavor .


, this is the most visually unappealing .


huston 's revelatory performance


further demonstrates just how far his storytelling skills have eroded .


miraculous


do well to check this one out


both shallow and dim-witted


heaven is one such beast


those moviegoers who would automatically bypass a hip-hop documentary


sullivan and his son


stale first act , scrooge story , blatant product placement


's worth the concentration


choppiness


the story 's pathetic and the gags are puerile . .


environmental pollution ever made


in questioning the election process , payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .


as with most late-night bull sessions , eventually the content is n't nearly as captivating as the rowdy participants think it is .


if there was any doubt that peter o'fallon did n't have an original bone in his body , a rumor of angels should dispel it .


it 's kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers .


, norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced ,


a brisk , reverent , and subtly different sequel .


into the nature of faith


offers an unexpected window into the complexities of the middle east struggle and into the humanity of its people


to document all this emotional misery


gritty


lush , all-enveloping movie experience


funnier


the most wondrous of all hollywood fantasies --


of updating white 's dry wit to a new age


sitting in the third row of the imax cinema at sydney 's darling harbour , but i sometimes felt as though i was in the tiny two seater plane that carried the giant camera around australia , sweeping and gliding , banking and


just more of the same , done with noticeably less energy and imagination


to savor binoche 's skill


definitely


beaches


enchantment


has all the scenic appeal of a cesspool .


deaths


wondering why you 've been watching all this strutting and posturing


the predictable parent


was as graceful


be appreciated by anyone outside the under-10 set


the incessant , so-five-minutes-ago pop music


assured , glossy


hitting the audience over the head with a moral


against the maker 's minimalist intent


the movie as a whole


to perform


opportunity to make absurdist observations


was inexplicably rushed to the megaplexes before its time


nicholson proves once again that he 's the best brush in the business


, yu clearly hopes to camouflage how bad his movie is .


patriot games can still turn out a small , personal film with an emotional wallop


too bad writer-director adam rifkin situates it all in a plot as musty as one of the golden eagle 's carpets .


call the film ` refreshing


disappointingly thin slice


that it 's offensive , but


in future years as an eloquent memorial


bring new energy to the familiar topic of office politics .


never gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry .


that 's as entertaining as it is instructive


no discernible feeling beneath the chest hair


this is one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt .


to good actors


is plastered with one hollywood cliche after another , most of which involve precocious kids getting the better of obnoxious adults


with imagination


all-powerful


embarrassingly ham-fisted sex jokes


that it actually makes the heart soar


every conceivable mistake a director could make in filming opera has been perpetrated here .


extraordinarily rich landscape


superior crime movie


turn on many people to opera ,


just as endearing and easy to watch


what 's left of his passe ' chopsocky glory


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


juice and delight


the best inside-show-biz


should never , ever , leave a large dog alone with a toddler


the basic flaws in his vision


the better film 's


the cruelty and suffering


more mature than fatal attraction , more complete than indecent proposal and more relevant than 9 1/2 weeks


to say that this vapid vehicle is downright doltish and uneventful is just as obvious as telling a country skunk that he has severe body odor .


's something of the ultimate scorsese film , with all the stomach-turning violence , colorful new york gang lore and other hallmarks of his personal cinema painted on their largest-ever historical canvas


just the labor involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing .


have been an eerie thriller


most substantial feature for some time


walked away


is plainly dull and visually ugly


touching , sophisticated film


it 's soulful and unslick


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


'' offers chills much like those that you get when sitting around a campfire around midnight , telling creepy stories to give each other the willies .


it forces you to ponder anew what a movie can be


is nearly impossible to look at or understand


some of it is honestly affecting


to the movie 's rude and crude humor


an entertaining and informative documentary


writer-director randall wallace has bitten off more than he or anyone else could chew , and


is a plodding mess


constant smiles


compelling , provocative and prescient viewing


you value your time and money


arrest development in a dead-end existence


, it 's kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers .


it reduces the complexities to bromides and slogans and it gets so preachy-keen and so tub-thumpingly loud it makes you feel like a chump just for sitting through it .


incredibly


so sloppy , so uneven , so


the intelligence level of the characters must be low , very low , very very low , for the masquerade to work


fantasy pablum


family dynamics


you 'd have to be a most hard-hearted person not to be moved by this drama .


it has more than a few moments that are insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing .


a fairly revealing study of its two main characters --


he 's unlikely to become a household name on the basis of his first starring vehicle .


idiotic


for finding meaning in relationships or work


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


an `` ambitious failure


enjoyable in its own right


a lively and engaging examination of how similar obsessions can dominate a family


of mixed messages , over-blown drama and bruce willis


to entertain all ages


compared to his series of spectacular belly flops both on and off the screen


the negative and the script


it 's offensive


as aimless as an old pickup skidding completely out of control on a long patch of black ice


goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy .


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


's not nearly as fresh or enjoyable as its predecessor


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


there 's no conversion effort ,


has the thrown-together feel of a summer-camp talent show : hastily written ,


the inherent absurdity of ganesh 's rise


offers winning performances and some effecting moments .


with flabby rolls


has plenty for those ( like me ) who are n't .


oscar-nominated


however canned --


sheer ugliness


water torture seem appealing


in the tradition


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


this interminable , shapeless documentary


however entertainingly presented


the cast is impressive


to wait for the video


predominantly amateur


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


gussied up


mishmash


seamless and sumptuous stream


able to pull it back on course


for all of its insights into the dream world of teen life , and its electronic expression through cyber culture , the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2 - hour running time .


an engrossing portrait of uncompromising artists trying to create something original


an aimlessness


to be as naturally charming as it needs to be


the self-image


true-to-life characters


be commended for illustrating the merits of fighting hard for something that really matters


to believe that something so short could be so flabby


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


made you love it


classic moral-condundrum drama : what would you have done to survive ?


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


the little girls understand , and mccracken knows that 's all that matters .


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


in a movie this bad


trite , predictable rehash


the achingly unfunny phonce and his several silly subplots


that if you give a filmmaker an unlimited amount of phony blood , nothing good can happen


alas , it collapses like an overcooked soufflé .


's insecure in lovely and amazing ,


that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls


a clever thriller with enough unexpected twists to keep our interest


decent performances


its invitingly upbeat overture


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


is negated


you 'll want things to work out


would call it , ` hungry-man portions of bad '


spielberg presents a fascinating but flawed look at the near future .


use of his particular talents


is omitted nor a cliché left unsaid


reliable textbook


determination to inject farcical raunch


they 're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood .


of heart


playing the obvious game


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


a deft


than the first 30 or 40 minutes


on the surface a silly comedy , scotland , pa would be forgettable if it were n't such a clever adaptation of the bard 's tragic play .


bread , my sweet has so many flaws it would be easy for critics to shred it .


shaking your head


encouraging


is talented enough and charismatic enough to make us care about zelda 's ultimate fate


eye-popping visuals


fincher takes no apparent joy in making movies , and he gives none to the audience .


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


hate yourself


provides a strong itch to explore more


a beautiful paean to a time long past


be incomprehensible to moviegoers not already clad in basic black


self-amused trash


a fair amount of b-movie excitement


super - violent , super-serious


large-scale


consuming self-absorption


has its merits


has n't progressed as nicely as ` wayne . '


a sobering meditation


make a clear point --


a new benchmark for lameness


the film is visually dazzling ,


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


just what ( aniston ) has always needed to grow into a movie career


's most substantial feature for some time


a different and emotionally reserved type of survival story


meandering and confusing


become the master of innuendo


frida gets the job done .


know the band or the album 's songs by heart


surprises


has far more energy , wit and warmth than should be expected from any movie with a `` 2 '' at the end of its title .


rather unexceptional


fairly ludicrous plot


adventures


sleek and arty .


eccentric and good-naturedly aimless story


easy , seductive pacing


must for fans of british cinema , if only because so many titans of the industry are along for the ride .


makes up for with its heart .


imaginative filmmaker


a substantive movie


it 's mostly a pleasure to watch .


with all of this


, the score is too insistent


to put a human face on the travail of thousands of vietnamese


that actually has a brain


an unfortunate title for a film that has nothing


editorial process


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


a side dish of asparagus


they wo n't enjoy the movie at all .


winds up moving in many directions as it searches ( vainly , i think ) for something fresh to say


gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2 - hour running time


were a person


poetry in motion captured on film .


flat as a spoof


are pretty valuable


a smart , nuanced look


the new film is a subzero version of monsters , inc. , without the latter 's imagination , visual charm or texture .


like a badly edited , 91-minute trailer ( and ) the director ca n't seem to get a coherent rhythm going


three-hour endurance test


right direction


most poorly staged and lit


sillier


a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female


carmichael


sappy


truths


overcomes its visual hideousness with a sharp script and strong performances .


has so many flaws it would be easy for critics to shred it


meyjes 's movie , like max rothman 's future , does not work .


is masterly


stands as a document of what it felt like to be a new yorker -- or , really , to be a human being -- in the weeks after 9/11 .


constructs a hilarious ode to middle america and middle age with this unlikely odyssey


abrupt


this often-hilarious farce manages to generate the belly laughs of lowbrow comedy without sacrificing its high-minded appeal .


an overwhelming pleasure


silly stuff


is much more p.c. than the original version ( no more racist portraits of indians , for instance )


pop up in a cinematic year already littered with celluloid garbage


does n't overcome the tumult of maudlin tragedy


constant smiles and frequent laughter


his sly , intricate magic


predictable , manipulative stinker


this is a very ambitious project for a fairly inexperienced filmmaker , but


like looking over the outdated clothes and plastic knickknacks at your neighbor 's garage sale


enlivens this film


a showcase for both the scenic splendor of the mountains and for legendary actor michel serrault , the film


extremely unpleasant


for each other


morally ambiguous and nothing to shout about


nair just does n't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy .


unfortunate title


is the recording industry in the current climate of mergers and downsizing


a four star performance from kevin kline who unfortunately works with a two star script


to get at the root psychology of this film would require many sessions on the couch of dr. freud .


the problem with the bread , my sweet


lost dreams


sense that powerhouse of 19th-century prose behind her childlike smile


builds to an intense indoor drama about compassion , sacrifice , and christian love


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


looking , sounding and simply feeling like no other film in recent history


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


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


even when there are lulls , the emotions seem authentic


works because reno


cheer flick


a poky and pseudo-serious exercise in sham actor workshops and an affected malaise .


thick clouds of denial


of fun , with an undeniable energy


it may scream low budget ,


vivacious


an enthralling aesthetic experience , one that 's steeped in mystery and a ravishing , baroque beauty .


obvious and lengthy


delights for adults


combined with so much first-rate talent


it also rocks .


which awards animals the respect they


into bizarre , implausible behavior


its impressive images


has a key strength in its willingness to explore its principal characters with honesty , insight and humor .


it 's a barely tolerable slog over well-trod ground .


gentle longing


very compelling


an already thin story


uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .


turns the goose-pimple genre on its empty head and fills it with spirit , purpose and emotionally bruised characters who add up to more than body count


90-minute dud


ensures the film never feels draggy .


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


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


a riveting profile of law enforcement , and a visceral , nasty journey into an urban hades


scruffy , dopey old


genuine and sweet


of under-inspired , overblown enterprise that gives hollywood sequels a bad name


i 'd much rather watch teens poking their genitals into fruit pies


vaguely interesting , but it 's just too too much .


's surprisingly decent , particularly


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


as though they are having so much fun


a movie as artificial and soulless as the country bears


a sloppy , amusing comedy that proceeds from a stunningly unoriginal premise .


overly familiar


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


distinguished


likely to seduce and conquer


the background -- a welcome step


` christian bale 's quinn ( is ) a leather clad grunge-pirate with a hairdo like gandalf in a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent . '


marveling at these guys ' superhuman capacity


gorgeous film a must for everyone from junior scientists to grown-up fish lovers


before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead


life 's ultimate losers


, what 's with the unexplained baboon cameo ?


is a slapdash mess


speeds up


insanely violent and very graphic


nurtures the multi-layers of its characters ,


satisfactorily


fried in pork


the emotional depth


concentrates far too much


eclipses nearly everything else she 's ever done


populated by characters who are nearly impossible to care about


familiar and predictable , and 4/5ths of it


of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall


prevents them from firing on all cylinders


about their lives , loves and the art


is off his game


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


this is a big , juicy role


a very complex situation


it 's really well directed


a valentine sealed with a kiss


theater feeling


to farts , urine , feces , semen , or any of the other foul substances


cliches and pabulum


constant fits of laughter


wobbly


secondhand , familiar -- and not in a good way


is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams .


in a summer of clones , harvard man is something rare and riveting : a wild ride that relies on more than special effects .


for the most creative mayhem in a brief amount of time


irresistible


equilibrium the movie , as opposed to the manifesto , is really , really stupid .


, it also has plenty for those ( like me ) who are n't .


to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again ... that in itself is commentary enough


a pleasant distraction , a friday night diversion


dry the undead action flick formula


dull girl


bungle their way through the narrative


yes , i have given this movie a rating of zero .


actually finding the characters in slackers or their antics amusing , let alone funny


joy to watch , even when her material is not first-rate


is a general air of exuberance in all about the benjamins that 's hard to resist


the nifty premise


the sad schlock merchant of ` deadly friend


the film is so bleak that it 's hardly watchable


that welcome to collinwood is n't going to jell


is that it counts heart as important as humor .


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


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


scratching your head in amazement over the fact that so many talented people could participate in such an


dog soldiers does n't transcend genre -- it embraces it , energizes it and takes big bloody chomps out of it


smooth and professional


naomi watts is terrific as rachel


a-list brit actors


grant and bullock make it look as though they are having so much fun


playful and haunting


the type of film about growing up that we do n't see often enough these days


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


tossed in


its story about a young chinese woman , ah na , who has come to new york city to replace past tragedy with the american dream is one that any art-house moviegoer is likely to find compelling .


for some robust and scary entertainment


such a pleasure


shanghai ghetto may not be as dramatic as roman polanski 's the pianist , but


a troubadour


of that already-shallow


its shape-shifting perils , political intrigue


even lazier


on a string of exotic locales


a fresh way


the exoticism of its seas of sand to the fierce grandeur of its sweeping battle scenes


` ick '


interminably bleak , to say nothing of boring .


notwithstanding my problem with the movie 's final half hour


it is derivative


the crackle of lines , the impressive stagings of hardware


of high art


despite all the backstage drama


are cheesy backdrops , ridiculous action sequences , and many tired jokes about men in heels .


squarely fills the screen .


all the queen 's men is allegedly `` inspired '' was a lot funnier and more deftly enacted than what 's been cobbled together onscreen


top-billed star bruce willis


a good yarn --


too late


by the time the plot grinds itself out in increasingly incoherent fashion


a movie that 's about as overbearing and over-the-top as the family it depicts .


lost the ability to think


, you ca n't help suspecting that it was improvised on a day-to-day basis during production .


a sensitive , moving ,


if you are curious to see the darker side of what 's going on with young tv actors ( dawson leery did what ?!? ) , or see some interesting storytelling devices , you might want to check it out , but there 's nothing very attractive about this movie


to flat characters


cinematic poem


boiling point


the rich performances by friel


a meatier deeper beginning and/or ending would have easily tipped this film into the `` a '' range , as is , it 's a very very strong `` b + . ''


maddeningly insistent and repetitive


dream


unlikable , uninteresting , unfunny ,


everything kieslowski 's work aspired to , including the condition of art


degrading and


it is supremely unfunny and unentertaining to watch middle-age and older men drink to excess , piss on trees , b.s. one another and put on a show in drag .


compelling story to tell


the film 's intimate camera work and


a classic fairy tale that perfectly captures the wonders and worries of childhood in a way that few movies have ever approached


that it 's more than a worthwhile effort


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


is no doubt true


an excruciating demonstration of the unsalvageability


clear-cut


be a breakthrough in filmmaking


succeeds as a powerful look at a failure of our justice system


beautiful


although the sequel has all the outward elements of the original , the first film 's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks .


each trailer park you drive past -- even if it chiefly inspires you to drive a little faster


how bad it is


the film shatters you in waves .


the movie 's downfall


sometimes murky


the first question to ask about bad company is why anthony hopkins is in it .


loud , chaotic and largely unfunny .


inventive , fun , intoxicatingly sexy , violent , self-indulgent and maddening .


the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch .


add much-needed levity


from any movie with a `` 2 ''


another arnold vehicle that fails to make adequate


boasts enough funny dialogue and sharp


because of its heightened , well-shaped dramas ,


if it 's unnerving suspense you 're after -- you 'll find it with ring , an indisputably spooky film ; with a screenplay to die for .


called best bad film you thought was going to be really awful but


brilliant in this


its utterly misplaced earnestness


nonetheless it drags during its 112-minute length


sluggish ,


four-star


'' is suitable summer entertainment that offers escapism without requiring a great deal of thought .


holiday carol


some of the visual flourishes are a little too obvious , but restrained and subtle storytelling


never capitalizes on this concept and opts for the breezy and amateurish feel of an after school special on the subject of tolerance .


flat acting


a romantic comedy plotline


the star-making machinery of tinseltown


welcome or accept the trials of henry kissinger as faithful portraiture


jabs


take a complete moron


of the most unpleasant things the studio


mastering its formidable arithmetic of cameras and souls


the diverse , marvelously twisted shapes history


best kind


no other reason why anyone should bother remembering it


broad cross-section


the filmmaker 's characteristic style


are fantastic


most brilliant work


condescending


is paper-thin and decidedly unoriginal


the star who helped give a spark to `` chasing amy '' and `` changing lanes '' falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears . ''


with the american dream


may not be a straightforward bio


especially grateful for freedom


has more in common with a fireworks display than a movie , which normally is expected to have characters and a storyline .


van wilder has a built-in audience , but only among those who are drying out from spring break and are still unconcerned about what they ingest .


eerie thriller


using a plot that could have come from an animated-movie screenwriting textbook


we got 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 .


joy and pride


you crave chris smith 's next movie


you can fire a torpedo through some of clancy 's holes , and the scripters do n't deserve any oscars .


in the best way


exquisitely


improperly hammy performance


'll trudge out of the theater feeling as though you rode the zipper after eating a corn dog and an extra-large cotton candy


it does not attempt to filter out the complexity


banged their brains into the ground


the funniest and most accurate depiction


attuned


aspires to be more than another `` best man '' clone by weaving a theme throughout this funny film .


, ` swept away ' sinks .


respects the material without sentimentalizing it


incredible storyline


the beauty


for the full 90 minutes , especially with the weak payoff


a perfect performance that captures the innocence and budding demons within a wallflower


a tactic to cover up the fact that the picture is constructed around a core of flimsy -- or , worse yet , nonexistent -- ideas


plant smile-button faces


knockout


, the film does n't end up having much that is fresh to say about growing up catholic or , really , anything .


are so stunning


never rises above easy , cynical potshots at morally bankrupt characters ...


this movie is careless and unfocused .


that effectively combines two surefire , beloved genres


crisp and


zany '


fuddled