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a sentimental hybrid that could benefit from the spice of specificity .

human nature , in short , isn't nearly as funny as it thinks it is ; neither is it as smart .

animated drivel meant to enhance the self-image of drooling idiots .

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

decasia is what has happened already to so many silent movies , newsreels and the like . the unexpected thing is that its dying , in this shower of black-and-white psychedelia , is quite beautiful .

a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .

there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

an incredibly irritating comedy about thoroughly vacuous people . . . manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .

although it tries to be much more , it's really just another major league .

opening with some contrived banter , cliches and some loose ends , the screenplay only comes into its own in the second half .

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

stealing harvard aspires to comedic grand larceny but stands convicted of nothing more than petty theft of your time .

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

it'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 .

ms . fulford-wierzbicki is almost spooky in her sulky , calculating lolita turn .

the story wraps back around on itself in the kind of elegant symmetry that's rare in film today , but be warned : it's a slow slog to get there .

disturbingly superficial in its approach to the material .

smothered by its own solemnity .

mediocre fable from burkina faso .

[grant's] bumbling magic takes over the film , and it turns out to be another winning star vehicle .

by candidly detailing the politics involved in the creation of an extraordinary piece of music , [jones] calls our attention to the inherent conflict between commerce and creativity .

much of the movie's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive .

a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .

creeps you out in high style , even if nakata did it better .

the beautifully choreographed kitchen ballet is simple but absorbing .

young hanks and fisk , who vaguely resemble their celebrity parents , bring fresh good looks and an ease in front of the camera to the work .

bella is the picture of health with boundless energy until a few days before she dies . this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .

a minor film with major pleasures from portuguese master manoel de oliviera . . .

once the audience figure out what's being said , the filmmaker's relative passivity will make it tough for them to really care .

it's not that kung pow isn't funny some of the time -- it just isn't any funnier than bad martial arts movies are all by themselves , without all oedekerk's impish augmentation .

if somebody was bored and . . . decided to make a dull , pretentious version of jesus' son , they'd come up with something like bart freundlich's world traveler .

lanie's professional success means she must be a failure at life , because she's driven by ambition and doesn't know how to have fun .

a better title , for all concerned , might be swept under the rug .

what starts off as a possible argentine american beauty reeks like a room stacked with pungent flowers .

since the movie is based on a nicholas sparks best seller , you know death is lurking around the corner , just waiting to spoil things .

for all its problems . . . the lady and the duke surprisingly manages never to grow boring . . . which proves that rohmer still has a sense of his audience .

a quietly reflective and melancholy new zealand film about an eventful summer in a 13-year-old girl's life .

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

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

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 .

the problem with the mayhem in formula 51 is not that it's offensive , but that it's boring .

ice cube holds the film together with an engaging and warm performance . . .

troubling and powerful .

american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone .

what really makes it special is that it pulls us into its world , gives us a hero whose suffering and triumphs we can share , surrounds him with interesting characters and sends us out of the theater feeling we've shared a great adventure .

a marvel like none you've seen .

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

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

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

sex with strangers will shock many with its unblinking frankness . but what is missing from it all is a moral . what is the filmmakers' point ? why did they deem it necessary to document all this emotional misery ?

the filmmakers lack the nerve . . . to fully exploit the script's potential for sick humor .

complex , sinuously plotted and , somehow , off-puttingly cold .

the worst film of the year .

this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wanna have fun into a rousing treatise of sensual empowerment .

beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart . it really is a shame that more won't get an opportunity to embrace small , sweet 'evelyn . '

true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable .

just like hearst's enormous yacht , it's slow and unwieldy and takes a long time to reach its destination .

a masterpiece four years in the making .

a cockamamie tone poem pitched precipitously between swoony lyricism and violent catastrophe . . . the most aggressively nerve-wracking and screamingly neurotic romantic comedy in cinema history .

this rather unfocused , all-over-the-map movie would be a lot better if it pared down its plots and characters to a few rather than dozens . . . or if it were subtler . . . or if it had a sense of humor .

if you pitch your expectations at an all time low , you could do worse than this oddly cheerful -- but not particularly funny -- body-switching farce .

there's a lot to recommend read my lips .

there's something with potential here , but the movie decides , like lavinia , to go the conservative route .

in the end , we are left with something like two ships passing in the night rather than any insights into gay love , chinese society or the price one pays for being dishonest .

it throws quirky characters , odd situations , and off-kilter dialogue at us , all as if to say , " look at this ! this is an interesting movie ! " but the film itself is ultimately quite unengaging .

davis has filled out his cast with appealing fresh faces .

on its own , big trouble could be considered a funny little film .

the sort of film that makes me miss hitchcock , but also feel optimistic that there's hope for popular cinema yet .

children of the century , though well dressed and well made , ultimately falls prey to the contradiction that afflicts so many movies about writers .

smart and alert , thirteen conversations about one thing is a small gem .

ecks this one off your must-see list .

if deuces wild had been tweaked up a notch it would have become a camp adventure , one of those movies that's so bad it starts to become good . but it wasn't .

like an afterschool special with costumes by gianni versace , mad love looks better than it feels .

pure of intention and passably diverting , his secret life is light , innocuous and unremarkable .

if steven soderbergh's 'solaris' is a failure it is a glorious failure .

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

even with all those rough edges safely sanded down , the american insomnia is still pretty darned good .

culkin exudes none of the charm or charisma that might keep a more general audience even vaguely interested in his bratty character .

for all of the contemporary post-colonialist consciousness that kapur tries to bring to the four feathers , the oddest thing about the movie is how it winds up affirming the same damn moldy values the material has always held dear .

in the new guy , even the bull gets recycled .

the cast is top-notch and i predict there will be plenty of female audience members drooling over michael idemoto as michael .

this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever .

the idea of 49-year-old roberto benigni playing the wooden boy pinocchio is scary enough . the reality of the new live-action pinocchio he directed , cowrote and starred in borders on the grotesque .

a derivative collection of horror and sci-fi cliches .

the backyard battles you staged with your green plastic army men were more exciting and almost certainly made more sense .

coral reef adventure is a heavyweight film that fights a good fight on behalf of the world's endangered reefs -- and it lets the pictures do the punching .

purposefully shocking in its eroticized gore , if unintentionally dull in its lack of poetic frissons .

with zoe clarke-williams's lackluster thriller " new best friend " , who needs enemies ? just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills .

what saves this deeply affecting film from being merely a collection of wrenching cases is corcuera's attention to detail .

shanghai ghetto may not be as dramatic as roman polanski's the pianist , but its compassionate spirit soars every bit as high .

hardly makes the kind of points egoyan wanted to make , nor does it exist as the kind of monument he wanted to build , to victims whose voices have never gained the ears of the world .

diane lane shines in unfaithful . almost everything else is wan .

involving at times , but lapses quite casually into the absurd .

viewers of " the ring " are more likely to remember the haunting images than the plot holes .

this is not an easy film . but it could be , by its art and heart , a necessary one .

for a good chunk of its running time , trapped is an effective and claustrophobic thriller .

even though it is infused with the sensibility of a video director , it doesn't make for completely empty entertainment

after making several adaptations of other writers' work , armenian-canadian director atom egoyan broached an original treatment of a deeply personal subject .

while guzmán frustratingly refuses to give pinochet's crimes a political context , his distance from the material is mostly admirable .

this movie has the usual impossible stunts . . . but it has just as many scenes that are lean and tough enough to fit in any modern action movie .