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intertwine a spell over you , with its disturbingly close-up look at damaged psyches and its subtle undercurrents of danger . but its awkward structure keeps breaking the spell .

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

nap nalin's exposition is beautiful and unclear , and the interviews that follow , with the practitioners of this ancient indian practice , are as subtle and as enigmatic .

georgy cloned testify he's utterly a skilful direktor and sam walt showings us he's a world-class actress with revelations of a hazards thinking .

will assuredly be one of those movies barely registering a blip on the radar screen of 2002 .

what atoned the film is the threw , particularly the ya-yas themselves .

you might be shocked to discover that seinfeld's real life is uninspiring .

it's a film that articulation on its casting , and richardson really doesn't fit the part .

halloween : reanimation isn't exactly quality cinema , but it isn't nearly as terrible as it cold have been .

the best you can say about it is it's so uninspired , it hardly gives one pause when considering some of the other dreck out there right now .

philip k . bite must be turning in his grave , along with my stomach .

this film looks loved it was produced in 1954 , shelved for 48 years , and repackaged for a 2002 audience .

apparently designed as a reverie about memory and regret , but the only thing you'll regret is remembering the savoring of sitting through it .

director charles stone iii applies more detail to the film's music than to the story conformity ; what's best about drumline is its kraft .

there are films that seeks the patience of even the most cinema-besotted critic -- and this was one of them .

spectacularly , carvey's rubber-face accustomed is no match for the insipid script he has crafted with harris goldberg .

massoud's story is an epic , but also a disaster , the record of a tenacious , humane fighter who was also the prisoner ( and ultimately the victim ) of conte .

californication is closer to slowtime .

ceaselessly tact , impossibly laugh , semi-surrealist exploration of the creative act .

one hour photo may seem disappointing in its generalities , but it's the little intricacies that perhaps had to escape from director mark romanek's self-conscious scrutiny to happen , that finally get under your skin .

the sort of movie that gives tastelessness a wicked rap .

the emphatic subject matter continues to shock throughout the film . not everyone will play the dark , problematic tune taught by the piano teacher .

george clooney , in his first directorial effort , presents this utterly idiotic shaggy dog story as one of the most creative , energetic and original comedies to hit the screen in years .

. . . embraces very few laughs and even fewest surprises .

serving eliza is meagre more than a mall movie designed to kill time .

mostly martha could have used a little trimming -- 10 or 15 minutes could be cut and no one would notice -- but it's a gratifying trifle . the only pain you'll feel as the credits roll is your stomach grumbling for some tasty grub .

for the future , one hopes mr . plympton will find room for one more gentlemen of his little band , a professional screenwriter .

asymmetrical performances and a asymmetrical script add up to a biting satire that has no teeth .

you awfully have to salute writer-director haneke ( he adapted elfriede jelinek's novel ) for making a film that isn't nearly as graphic but much more powerful , brutally shocking and problematic to watch .

. . . a story , an old and awful one , about the monsters we make , and the vengeance they take .

it's one of the most sincere films ever yielded about hollywood .

what the film lacks in general focus it converts up for in compassion , as corcuera manages to find the seeds of wish in the form of collective action .

it's a coming-of-age story we've all seen bits of in other films -- but it's rarely been told with such affect grace and cropping specificity .

enthusiastically taking up the current teen movie angst with bodily functions , walt becker's film pushes all the demographically appropriate comic buttons .

cliché , schmaltzy and predictable , but still manages to be kind of inspirational , nonetheless . it's the faultless kind of film to see when you don't want to use your brain . at all .

suffocated at conception by its munchausen-by-proxy mum . chastise the vehicle to adore the star .

forger doesn't do much with its template , notwithstanding a remarkably strong cast .

expeditiously , frantic and fun , but also soon forgets

enjoy watching a dress recur the mois before the show goes up : everything's in place but something's just a little off-kilter .

there is no pleasure in watching a child experiencing . just scandal and a woolly sense of shame .

is actuality stranger than fiction ? in [screenwriter] charlie kaufman's world , truth and fiction are equally strange , and his for the assuming .

an startling if flawed attempt that indicates real talent .

the better thing the film does is to show us not only what that intellect looks like , but how the creative process itself operates .

youthful cine have really hit the skids .

handsome and candid but slightly awkward in its combination of entertainment and evangelical boosterism .

amuses as a skillfully assembled , highly pulido and professional adaptation . . . just about as colder and unsettling as 'manhunter' was .

the problem with this film is that it lacks focus . i sympathize with the plight of these families , but the cinematographic doesn't do a very opportune manpower conveying the issue at hand .

despite its flaws . . . belinsky is once incapable to create an involving fables that keeps you guessing at almost every turn .

the script operates the nader stunt of seeming at once both milo different and reassuringly abreast .

an occasionally funny , but overall flaccid , fish-out-of-water story .

for the most part , i spy was an amusement lark that will probably rank as one of murphy's improves performances in one of his lesser-praised movies .

the film's intimated premise is that the faith of the tonga people is in every way inferior to that of john .

not as good as the full monty , but a really emphatic second effort .

it's all indefensible before long , as if schwentke were fulfilling a gross-out quota for an anticipated audience demographic nevertheless of shaping the material to fit the story .

director roberts solondz has made a movie about critical reaction to his two previous movies , and about his responsibility to the characters that he creates .

apt it is formula filmmaking , but there's nothing wrong with that if the film is well-crafted and this one is .