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

independent film

match their own creations for pure venality -- that 's giving it the old college try

the life out of whatever idealism american moviemaking ever had

lack of spontaneity in its execution and a dearth of real poignancy

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

goes right over the edge and kills every sense of believability

of clichés , depression and bad alternative music

projects onto the screen -- loud , violent and mindless

the screenplay , but rather

seen to better advantage on cable , especially considering its barely

, lan yu never catches dramatic fire .

tear their eyes away from the screen

a nasty aftertaste but little clear memory of its operational mechanics

its unsettling force

keep the proceedings as funny for grown-ups as for rugrats

recommend big bad love

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

to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny

the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining .

fierce grandeur

significantly less charming than listening to a four-year-old with a taste for exaggeration

-- conrad l. hall 's cinematography will likely be nominated for an oscar next year -- there 's something impressive and yet lacking about everything .

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

simplistic and more than a little pretentious

never feels derivative

gives us mostly fool 's gold

a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland

arresting little ride

be interested in knowing any of them personally

an exceptionally

reworking to aim the film at young males in the throes of their first full flush of testosterone

mysterious , sensual ,

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

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

it 's better to go in knowing full well what 's going to happen , but willing to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists .

stephen rea , aidan quinn , and alan bates play desmond 's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , ` tis .

sven wollter as the stricken composer and viveka seldahl as his desperate violinist wife

provocative film

incredibly flexible

treads heavily

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

is a movie that puts itself squarely in the service of the lovers who inhabit it .

has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .

does n't try to surprise us with plot twists , but rather seems to enjoy its own transparency

a decomposition

, it 's pretty stupid .

could have been much stronger

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

gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection .

is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .

romp of a film .

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

is a diverting -- if predictable -- adventure suitable for a matinee , with a message that cautions children about disturbing the world 's delicate ecological balance .

in this tepid genre offering

's unlikely we 'll see a better thriller this year

precocious smarter-than-thou wayward teen

's neither as funny nor as charming as it thinks it is

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

somewhat short

watch your merchant ivory productions

to face frightening late fees

aging , suffering and the prospect of death

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

hokum but

can smell the grease on the plot

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

hits all the verbal marks it should

this one is a sweet and modest and ultimately winning story .

insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing

a formula comedy redeemed by its stars

, you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .

the only excitement comes when the credits finally roll and you get to leave the theater .

drag an audience

it can not even be dubbed hedonistic

exceptionally

to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo

a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely

furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation

for most of its footage , the new thriller proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .

does somehow manage to get you under its spell .

is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender

pay reparations to viewers

because the film deliberately lacks irony , it has a genuine dramatic impact ;

hollywood has taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff .

this oddly sweet comedy

are lukewarm and quick to pass .

human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film

a funny and well-contructed black comedy where the old adage `` be careful what you wish for '' is given a full workout .

perfectly pleasant if slightly pokey comedy

represents glossy hollywood at its laziest

why not invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once ?

steven seagal

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

as part of mr. dong 's continuing exploration of homosexuality in america , family fundamentals is an earnest study in despair .

quaid is utterly fearless as the tortured husband living a painful lie , and moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver .

too stupid

the tuxedo miscalculates badly by forcing the star to play second fiddle to the dull effects that allow the suit to come to life .

a truly , truly bad movie

while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .