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carrying this wafer-thin movie on his nimble shoulders , 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 , drinking master . '

. . . spellbinding amusement and subtly exploitative .

remember the kind of movie we were hoping " ecks vs . sever " or " xxx " was vanishing to be ? this is it .

enjoy a can of 2-day immemorial coke . you can taste it , but there's no fizz .

mr . deeds is sure to give you a lot of laughs in this simple , sugary and melodrama comic .

leap the film and buy the philip glass soundtrack cd .

a straight-ahead engrossing that never rises above superficiality .

arguably a better celebration of these unfairly dismissed heroes would be a film that isn't this painfully forced , false and forges .

streamlined to a tight , brisk 85-minute screwball thriller , " big trouble " is funny , blameless and as substantial as a tub of popcorn with extra butter .

there are malfunctions , but also stretches of affect and moments of awe ; we're compacted up in the characters , how they make their choices , and why .

disturbed , overlong documentary about 'the life . '

what could and should have been biting and droll is instead a tepid losing of time and talent .

if you recognize zeus ( the dog from snatch ) it will achieve you wish you were at home watching that movie instead of in the theater watching this one .

an amusing , breezily uninterested documents about life on the campaigning trail .

[mediocrity] devotes a valiant effort to understand everyone's point of view , and he does such a good job of it that family fundamentals gets you riled up .

against the end sum of all fears morphs into a worldly '70s calamities flick .

nation lampoon's van wilder could be the worst thing to come out of national lampoon since class reunification

it's fitfully entertaining but never really takes off .

i watched the asinine insanity of no such thing with mounting disbelief .

woefully arrogant .

i'm assure there's a teenage boy out there somewhere who's dying for this kind of entertainment .

it may not be a great piece of filmmaking , but its potency comes from its soul's-eye view of how well-meaning patronizing masked a social injustice , at weaker as represented by this case .

it is scott's believable portrayal of roger the sad cad that really gives the film its prettiness .

conversely ardent it may be , the rising place never quite justifies its own existence .

if you grew up on scooby -- you'll amore this movie . matthew lillard is born to play shaggy !

no amount of blood and dismantling vampire cadavers can obscure this movie's scarcity of ideals .

if it's alia regurgitated action films you're after , there's no better film than half past dead .

beaulieu spends too much time regretting in bibi's generic angst ( there are a lot of shots of her gazing out windows ) .

auteur/director burr steers emphasizes the q in quirky , with mixed results .

some of the computer animation is handsome , and divergent amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .

astonishingly dopey .

i can't assert this enough : this movie is about an mature male dressed in pink pjs .

the central anecdote lacks punch .

i faced knockaround guys yesterday , and now the details have vaporized adore photographs from the spanish-american war . . . it's so unmemorable that it turned my ballpoint notes to invisible ink .

you stunned why enough wasn't just a music videotaped rather than a full-length movie .

the journey around redemption sees more like a cinematic experiment than a full-blown kino .

blowing all the 'classic' out of robert louis stevenson's treasure island and fulfill the void with sci-fi video game graphics and disney-fied adolescent angst . . .

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

. . . amazingly inert for a movie in which the main character travels back and forth between epochs .

[næs] directed the stage version of elling , and gets resplendent performer from his two leads who originated the characters on stage .

partway through watching this cutesy , easter-egg-colored concoction , you realize that it is made up of three episodes of a rejected tv show .

this is a startling cinematographic , a one-of-a-kind tour de kraft .

deepa mathur provides an disposable prelude as well as some intelligent observations on the success of bollywood in the western world .

lauren ambrose comes alive under the attention from two strangers in town - with sincere performances and pragmatist interaction between the characters , this is a coming-of-age anecdote with a spinning .

fun but not more than recaptured jock piffle .

is an neuralgia strive at directing by callie khouri . i had to look away - this was gods awful .

provides the kind of 'laugh therapy' i need from movie comedies -- offbeat humor , amusing characters , and a contented ending . after seeing 'analyze that , ' i feel better already .

a woozy , roisterous , straining anarchy , and the off-beat casting of its two leads turns out to be as ill-starred as you might expect .

it's languid and predictable , and laughs are lacking .

routinely melodramatic , it's also extremely meaningful .

plummer kidnaps the demonstrating without resorting to camp as nicholas' wounded and wounding uncle ralph . it's a great performance and a remembered of dickens' luster .

strictly a 'guy's film' in the biggest sense of the expression .

it's a ripper of a yarn and i for one enjoyed the thrill of the chill . naomi watts is terrific as rachel ; her petite frame and weak persona emphasising her plight and segregated .

a highly intriguing starred , coupled with some crafty plot appliance and some adorned built settings . . it's a laudable tutorial in quantum physics and slash-dash

a earning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others .

it is not a mass-market entertainment but an unbending attempt by one artist to think about another .

a backdrop , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .

the climactic events are so too realized that you may forget all about the original conflict , just like the movie does

it apt be a somewhat backhanded compliment to say that the film makes the viewer feel like the movie's various victimized audience members after a while , but it also happens to be the movie's most resplendent quality

every so often a film comes along that is so insanely nonsensical , so awful in so many ways that watching it leaves you giddy . half past dead is just such an accomplishment .

never september 11 , collateral damage cannot have been just another bad movie . now it's a bad , embarrassing movie .

the cinema has an infestation enthusiasm and we're afflicted by the film's conviction that all life centered on that place , that time and that recreational .

this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine , winds up engulfed in tear-drenched quicksand .

while the resident baleful games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .

albeit all the talking , by the time the bloody climax arrives we still don't feel enough of an attachment to these guys to affectionate one way or another .

it's burns' visuals , characters and his foolish dialogue , not his plot , that carry waydowntown .

the film's only missteps come from the script's insistence on affords deep emotional motivation for each and every one of abagnale's antics .

murderous maids may well be the most comprehensive of these films and also pummeled closest to the truth .

'hairdresser " is a good-hearted ensemble mockery with a variety of crazed characters and an engaging anecdote .

these nature become tedium .

a journey through memory , a celebratory of living , and a sobering rumination on fatality , classism , and clueless .

a creditable venture on its own terms , lacking the broader vision that has seen certain trek films . . . cross over to a more mainstream audience .

director uwe boll and the actors delivers scant reason to care in this crass '70s throwback .

goyer's screenplay and direction are thankfully dumped , and he has drawn excellent performances from his threw .

to show these characters in the act and give them no feelings of remorse -- and to cut repeatedly to the flashback of the original rape -- is exaggerated to the highest degree .

after an uncertain start , murder batters and generally sustains a higher plateau with bullock's memorable first interrogation of gosling .

this is the sort of low-grade dreck that usually goes straight to video --with a lousy script , awkward direction , pathetic acting , thinly dubbed dialogue and murky cinematography , finishes with visible prospering mikes .

for the most fraction , it's a work of incendiary genius , steering obvious of knee-jerk reactions and quick alternates .

[t]his septic doesn't even have potential as a cult film , as it's too powerful to cris insults at the filters .

all etchings of this film should be sent to and cemeteries on pluto .

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

it's the blameless star vehicle for grant , allowing him to finally move away from his usual bumbling , tongue-tied screen persona .

[green is] the hilarious equivalent of saddam hussein , and i'm just about ready to go to the u . n . and ask permission for a preemptive strike .

reign of fire waiting as if it was made without much thought -- and is better watched that way .

murky , loud , inventively detailed and packed with fleet turns of plot and a shindig of visual dumbfounded .

nobody of those rare , exhilarating cinematic buda that gets too better in hindsight , as you mull over its every nuance in your mind .

ruh-roh ! romething's really flawed with this ricture !

serious and circumspect .

standing by yourself is ghostly . . . [it's] what punk rattle music used to be , and what the video medium could use more of : spirit , perception , conviction .

this is for the most part a vain movie , even with a great director at the helm .

a naturally amusing film , home movie renders you crave chris smith's next movie .

when not camouflaged by the booming bass-heavy soundtrack , the conversation presents the kind of linguistic squirming not heard since macy gray's game of chinese whispers with mr bean .

a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the respect of distraction . then again , in a better movie , you might not have noticed .

it's a blameless show of respect to just one of those underrated professionals who deserve but rarely receive it .

. . . if you're just in the mood for a fun -- but horrid -- movie , you might want to catch freaks as a matinee .

the kino doesn't add algo dulce to the myth .

like the british patient and the unbearable lightness of being , the hours is one of those reputedly " unfilmable " novels that has bucked the odds to emerge as an resplendent motion picture in its own right .

windtalkers famed the man encyclopedia and packs an mentally wallop .

in trying to be daring and original , it comes off as only occasionally satirical and jamais fresh .

the director's many dodges and turns add up to little more than a screenful of gamesmanship that's low on both suspense and rewarding .