clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .


it 's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .


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


makes the same mistake as the music industry it criticizes , becoming so slick and watered-down it almost loses what made you love it in the first place .


holofcener rejects patent solutions to dramatize life 's messiness from inside out , in all its strange quirks .


richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .


the people in jessica are so recognizable and true that , as in real life , we 're never sure how things will work out .


a depraved , incoherent , instantly disposable piece of hackery .


the casting of von sydow ... is itself intacto 's luckiest stroke .


a sharp , amusing study of the cult of celebrity .


as played by ryan gosling , danny is a frighteningly fascinating contradiction .


in fact , even better .


... a pretentious mess ...


grating and tedious .


a lovely and beautifully photographed romance .


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


mr. deeds is sure to give you a lot of laughs in this simple , sweet and romantic comedy .


the images lack contrast , are murky and are frequently too dark to be decipherable .


a brutal and funny work .


if the material is slight and admittedly manipulative , jacquot preserves tosca 's intoxicating ardor through his use of the camera .


it shares the first two films ' loose-jointed structure , but laugh-out-loud bits are few and far between .


like brosnan 's performance , evelyn comes from the heart .


has the capability of effecting change and inspiring hope .


one lousy movie .


for all the wit and hoopla , festival in cannes offers rare insight into the structure of relationships .


in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people , the movie exalts the marxian dream of honest working folk , with little to show for their labor , living harmoniously , joined in song .


it wo n't hold up over the long haul , but in the moment , finch 's tale provides the forgettable pleasures of a saturday matinee .


the film is undone by anachronistic quick edits and occasional jarring glimpses of a modern theater audience watching the events unfold .


and that should tell you everything you need to know about all the queen 's men .


the pacing is often way off and there are too many bona fide groaners among too few laughs .


wanker goths are on the loose !


happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .


the best comedy concert movie i 've seen since cho 's previous concert comedy film , i 'm the one that i want , in 2000 .


not even steven spielberg has dreamed up such blatant and sickening product placement in a movie .


one funny popcorn flick .


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


-lrb- a -rrb- rare movie that makes us re-assess the basis for our lives and evaluate what is truly ours in a world of meaningless activity .


one of the year 's best films , featuring an oscar-worthy performance by julianne moore .


a forceful drama of an alienated executive who re-invents himself .


there has been a string of ensemble cast romances recently ... but peter mattei 's love in the time of money sets itself apart by forming a chain of relationships that come full circle to end on a positive -lrb- if tragic -rrb- note .


director david jacobson gives dahmer a consideration that the murderer never game his victims .


the vistas are sweeping and the acting is far from painful .


charming and funny -lrb- but ultimately silly -rrb- movie .


entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .


over and over again .


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


sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments .


nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows .


neither as scary-funny as tremors nor demented-funny as starship troopers , the movie is n't tough to take as long as you 've paid a matinee price .


a thriller made from a completist 's checklist rather than with a cultist 's passion .


barrels along at the start before becoming mired in sentimentality .


nothing can detract from the affection of that moral favorite : friends will be friends through thick and thin .


it 's still adam sandler , and it 's not little nicky .


the dose is strong and funny , for the first 15 minutes anyway ; after that , the potency wanes dramatically .


an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .


her performance moves between heartbreak and rebellion as she continually tries to accommodate to fit in and gain the unconditional love she seeks .


the movie is well crafted , and well executed .


while not quite a comedy , the film tackles its relatively serious subject with an open mind and considerable good cheer , and is never less than engaging .


a quaint , romanticized rendering .


well-made but mush-hearted .


little more than a stylish exercise in revisionism whose point ... is no doubt true , but serves as a rather thin moral to such a knowing fable .


caruso sometimes descends into sub-tarantino cuteness ... but for the most part he makes sure the salton sea works the way a good noir should , keeping it tight and nasty .


brutally honest and told with humor and poignancy , which makes its message resonate .


the rare imax movie that you 'll wish was longer than an hour .


all the actors are good in pauline & paulette but van der groen , described as ` belgium 's national treasure , ' is especially terrific as pauline .


nothing too deep or substantial .


adam sandler 's 8 crazy nights is 75 wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie .


this rough trade punch-and-judy act did n't play well then and it plays worse now .


this harrowing journey into combat hell vividly captures the chaotic insanity and personal tragedies that are all too abundant when human hatred spews forth unchecked .


parents beware ; this is downright movie penance .


insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion .


not just unlikable .


normally , rohmer 's talky films fascinate me , but when he moves his setting to the past , and relies on a historical text , he loses the richness of characterization that makes his films so memorable .


bella is the picture of health with boundless energy until a few days before she dies .


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


you might say tykwer has done all that heaven allows , if you wanted to make as anti-kieslowski a pun as possible .


the color sense of stuart little 2 is its most immediate and most obvious pleasure , but it would count for very little if the movie were n't as beautifully shaped and as delicately calibrated in tone as it is .


demme gets a lot of flavor and spice into his charade remake , but he ca n't disguise that he 's spiffing up leftovers that are n't so substantial or fresh .


the all-french cast is marveilleux .


it 's no accident that the accidental spy is a solid action pic that returns the martial arts master to top form .


in an era where big stars and high production values are standard procedure , narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve .


narc is a no-bull throwback to 1970s action films .


a plodding teen remake that 's so mechanical you can smell the grease on the plot twists .


the party scenes deliver some tawdry kicks .


as any creature-feature fan knows , when you cross toxic chemicals with a bunch of exotic creatures , you get a lot of running around , screaming and death .


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


... a confusing drudgery .


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


about amy 's cuteness , amy 's career success -lrb- she 's a best-selling writer of self-help books who ca n't help herself -rrb- , and amy 's neuroses when it comes to men .


the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .


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


i like that smith , he 's not making fun of these people , he 's not laughing at them .


with wit and empathy to spare , waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters ' striving solipsism .


even during the climactic hourlong cricket match , boredom never takes hold .


brosnan is more feral in this film than i 've seen him before and halle berry does her best to keep up with him .


brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .


so original in its base concept that you can not help but get caught up .


the only time 8 crazy nights comes close to hitting a comedic or satirical target is during the offbeat musical numbers .


intriguing and downright intoxicating .


every potential twist is telegraphed well in advance , every performance respectably muted ; the movie itself seems to have been made under the influence of rohypnol .


rymer does n't trust laughs -- and does n't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects .


an intimate contemplation of two marvelously messy lives .


the mystery of enigma is how a rich historical subject , combined with so much first-rate talent ... could have yielded such a flat , plodding picture .


the events of the film are just so weird that i honestly never knew what the hell was coming next .


may take its sweet time to get wherever it 's going , but if you have the patience for it , you wo n't feel like it 's wasted yours .


a sly dissection of the inanities of the contemporary music business and a rather sad story of the difficulties of artistic collaboration .


it is quite a vision .


the importance of being earnest , so thick with wit it plays like a reading from bartlett 's familiar quotations


spielberg 's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later .


godard has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .


the closest thing to the experience of space travel


it 's a bad sign when you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over , but it 's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest .


it 's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .


has a certain ghoulish fascination , and generates a fair amount of b-movie excitement .


i could have used my two hours better watching being john malkovich again .


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


those who are only mildly curious , i fear , will be put to sleep or bewildered by the artsy and often pointless visuals .


... a preachy parable stylized with a touch of john woo bullet ballet .


go back to sleep .


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


by turns numbingly dull-witted and disquietingly creepy .


as a remake , it 's a pale imitation .


the story is also as unoriginal as they come , already having been recycled more times than i 'd care to count .


nair does n't use -lrb- monsoon wedding -rrb- to lament the loss of culture .


a fine film , but it would be a lot better if it stuck to betty fisher and left out the other stories .


whether or not you 're enlightened by any of derrida 's lectures on `` the other '' and `` the self , '' derrida is an undeniably fascinating and playful fellow .


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 .


in its chicken heart , crush goes to absurd lengths to duck the very issues it raises .


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


but his showboating wise-cracker stock persona sure is getting old .


they just have problems , which are neither original nor are presented in convincing way .


sparkles in its deft portrait of tinseltown 's seasoned veterans of gossip , wealth , paranoia , and celebrityhood .


a dopey movie clothed in excess layers of hipness .


a fine production with splendid singing by angela gheorghiu , ruggero raimondi , and roberto alagna .


what should have been a cutting hollywood satire is instead about as fresh as last week 's issue of variety .


the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string .


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


or both .


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


overwrought , melodramatic bodice-ripper .


gooding and coburn are both oscar winners , a fact which , as you watch them clumsily mugging their way through snow dogs , seems inconceivable .


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


but once the falcon arrives in the skies above manhattan , the adventure is on red alert .


funny in a sick , twisted sort of way .


the mood , look and tone of the film fit the incredible storyline to a t.


more dutiful than enchanting ... terribly episodic and lacking the spark of imagination that might have made it an exhilarating treat .


the movie is a trove of delights .


-lrb- a -rrb- soulless , stupid sequel ...


but , no , we get another scene , and then another .


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 .


beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce ... lies a plot cobbled together from largely flat and uncreative moments .


it 's immensely ambitious , different than anything that 's been done before and amazingly successful in terms of what it 's trying to do .


resembles a soft porn brian de palma pastiche .


i 'm sure the filmmaker would disagree , but , honestly , i do n't see the point .


the gags that fly at such a furiously funny pace that the only rip off that we were aware of was the one we felt when the movie ended so damned soon .


one of the most unpleasant things the studio has ever produced .


fans of plympton 's shorts may marginally enjoy the film , but it is doubtful this listless feature will win him any new viewers .


eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you do n't care who fires the winning shot .


as giddy and whimsical and relevant today as it was 270 years ago .


too bad none of it is funny .


there is a freedom to watching stunts that are this crude , this fast-paced and this insane .


a quiet family drama with a little bit of romance and a dose of darkness .


it 's not a bad plot ; but , unfortunately , the movie is nowhere near as refined as all the classic dramas it borrows from .


trapped wo n't score points for political correctness , but it may cause parents a few sleepless hours -- a sign of its effectiveness .


but it has an ambition to say something about its subjects , but not a willingness .


slight but enjoyable documentary .


-lrb- allen 's -rrb- best works understand why snobbery is a better satiric target than middle-america diversions could ever be .


it 's rare that a movie can be as intelligent as this one is in every regard except its storyline ; everything that 's good is ultimately scuttled by a plot that 's just too boring and obvious .


then nadia 's birthday might not have been such a bad day after all .


even if you 've seen `` stomp '' -lrb- the stage show -rrb- , you still have to see this !


the result is a powerful , naturally dramatic piece of low-budget filmmaking .


scenario that will give most parents pause ... then , something terrible happens .


the verdict : two bodies and hardly a laugh between them .


dull and mechanical , kinda like a very goofy museum exhibit


it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time .


sweet home alabama is one dumb movie , but its stupidity is so relentlessly harmless that it almost wins you over in the end .


mr. caine and mr. fraser are the whole show here , with their memorable and resourceful performances .


the film 's lack of personality permeates all its aspects -- from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed .


buries an interesting storyline about morality and the choices we make underneath such a mountain of clichés and borrowed images that it might more accurately be titled mr. chips off the old block .


where 's the movie here ?


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


dramas like this make it human .


ignoring that , he made swimfan anyway


as with so many merchandised-to-the-max movies of this type , more time appears to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else .


i simply ca n't recommend it enough .


lacks dramatic punch and depth .


i 'll put it this way : if you 're in the mood for a melodrama narrated by talking fish , this is the movie for you .


the movie is a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents .


the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge .


what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .


a timely look back at civil disobedience , anti-war movements and the power of strong voices .


for all its shoot-outs , fistfights , and car chases , this movie 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 .


what could have been a pointed little chiller about the frightening seductiveness of new technology loses faith in its own viability and succumbs to joyless special-effects excess .


cold and scattered , minority report commands interest almost solely as an exercise in gorgeous visuals .


episode ii -- attack of the clones is a technological exercise that lacks juice and delight .


when one hears harry shearer is going to make his debut as a film director , one would hope for the best


it 's probably not easy to make such a worthless film ...


one of the worst movies of the year .


broomfield reminds us that beneath the hype , the celebrity , the high life , the conspiracies and the mystery there were once a couple of bright young men -- promising , talented , charismatic and tragically doomed .


`` secretary '' is owned by its costars , spader and gyllenhaal .


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


this is a movie that is what it is : a pleasant distraction , a friday night diversion , an excuse to eat popcorn .


storytelling feels slight .


boldly engineering a collision between tawdry b-movie flamboyance and grandiose spiritual anomie , rose 's film , true to its source material , provides a tenacious demonstration of death as the great equalizer .


the movie is loaded with good intentions , but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality .


the film never rises above a conventional , two dimension tale


a quiet , disquieting triumph .


this is a monumental achievement in practically every facet of inept filmmaking : joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy .


ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .


one of those based-on-truth stories that persuades you , with every scene , that it could never really have happened this way .


-lrb- f -rrb- rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative , the film is blazingly alive and admirable on many levels .


it 's uninteresting .


it 's enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins .


it 's got the brawn , but not the brains .


a movie that both thrills the eye and , in its over-the-top way , touches the heart .


a vile , incoherent mess ... a scummy ripoff of david cronenberg 's brilliant ` videodrome . '


were it not for a sentimental resolution that explains way more about cal than does the movie or the character any good , freundlich 's world traveler might have been one of the more daring and surprising american movies of the year .


there 's no energy .


there is more than one joke about putting the toilet seat down .


massoud 's story is an epic , but also a tragedy , the record of a tenacious , humane fighter who was also the prisoner -lrb- and ultimately the victim -rrb- of history .


it 's soulful and unslick , and that 's apparently just what -lrb- aniston -rrb- has always needed to grow into a movie career .


that jack nicholson makes this man so watchable is a tribute not only to his craft , but to his legend .


starts off witty and sophisticated and you want to love it -- but filmmaker yvan attal quickly writes himself into a corner .


mark wahlberg ... may look classy in a '60s - homage pokepie hat , but as a character he 's dry , dry , dry .


a rather average action film that benefits from several funny moments supplied by epps .


it 's a treat watching shaw , a british stage icon , melting under the heat of phocion 's attentions .


despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .


... with the gifted pearce on hand to keep things on semi-stable ground dramatically , this retooled machine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself .


those with a modicum of patience will find in these characters ' foibles a timeless and unique perspective .


a rather tired exercise in nostalgia .


hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u.s. -- a major director is emerging in world cinema .


i do n't blame eddie murphy but should n't owen wilson know a movie must have a story and a script ?


thanks to the château 's balance of whimsicality , narrative discipline and serious improvisation , almost every relationship and personality in the film yields surprises .


daringly perceptive , taut , piercing and feisty , biggie and tupac is undeniably subversive and involving in its bold presentation .


upsetting and thought-provoking , the film has an odd purity that does n't bring you into the characters so much as it has you study them .


blue crush is so prolonged and boring it is n't even close to being the barn-burningly bad movie it promised it would be .


mostly the film is just hectic and homiletic : two parts exhausting men in black mayhem to one part family values .


miyazaki has created such a vibrant , colorful world , it 's almost impossible not to be swept away by the sheer beauty of his images .


it 's quite diverting nonsense .


it 's pauly shore awful .


so vivid a portrait of a woman consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt .


an uneven look into a grim future that does n't come close to the level of intelligence and visual splendour that can be seen in other films based on philip k. dick stories .


can you bear the laughter ?


at times the guys taps into some powerful emotions , but this kind of material is more effective on stage .


a sub-formulaic slap in the face to seasonal cheer .


the central character is n't complex enough to hold our interest .


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


the sound of gunfire and cell phones ringing .


the director has injected self-consciousness into the proceedings at every turn .


it works well enough , since the thrills pop up frequently , and the dispatching of the cast is as often imaginative as it is gory .


if anything , the film is doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans .


by that measure , it is a failure .


as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .


feardotcom 's thrills are all cheap , but they mostly work .


an engrossing and infectiously enthusiastic documentary .


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


a grittily beautiful film that looks , sounds , and feels more like an extended , open-ended poem than a traditionally structured story .


they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn .


like all great films about a life you never knew existed , it offers much to absorb and even more to think about after the final frame .


with dirty deeds , david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen .


it 's a sharp movie about otherwise dull subjects .


but if the essence of magic is its make-believe promise of life that soars above the material realm , this is the opposite of a truly magical movie .


not only a reminder of how they used to make movies , but also how they sometimes still can be made .


you 're not merely watching history , you 're engulfed by it .


it 's an effort to watch this movie , but it eventually pays off and is effective if you stick with it .


the movie enters a realm where few non-porn films venture , and comes across as darkly funny , energetic , and surprisingly gentle .


poignant japanese epic about adolescent anomie and heartbreak .


only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley 's flopping dolphin-gasm .


brady achieves the remarkable feat of squandering a topnotch foursome of actors ... by shoving them into every clichéd white-trash situation imaginable .


director boris von sychowski instead opts for a routine slasher film that was probably more fun to make than it is to sit through .


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


a bit of a downer and a little over-dramatic at times , but this is a beautiful film for people who like their romances to have that french realism .


a playful iranian parable about openness , particularly the need for people of diverse political perspectives to get along despite their ideological differences .


and that is where ararat went astray .


ca n't seem to get anywhere near the story 's center .


is the kind of movie that 's critic-proof , simply because it aims so low .


predictable and cloying , though brown sugar is so earnest in its yearning for the days before rap went nihilistic that it summons more spirit and bite than your average formulaic romantic quadrangle .


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


puts to rest any thought that the german film industry can not make a delightful comedy centering on food .


as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner .


you 've already seen city by the sea under a variety of titles , but it 's worth yet another visit .


norton holds the film together .


scotland , pa is entirely too straight-faced to transcend its clever concept .


action - mechanical .


a true pleasure .


its engaging simplicity is driven by appealing leads .


either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks .


though clearly well-intentioned , this cross-cultural soap opera is painfully formulaic and stilted .


another in a long line of ultra-violent war movies , this one is not quite what it could have been as a film , but the story and theme make up for it .


it is just too bad the film 's story does not live up to its style .


as immaculate as stuart little 2 is , it could be a lot better if it were , well , more adventurous .


kitschy , flashy , overlong soap opera .


much of it comes from the brave , uninhibited performances by its lead actors .


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


romething 's really wrong with this ricture !


ms. phoenix is completely lacking in charm and charisma , and is unable to project either esther 's initial anomie or her eventual awakening .


delivers the sexy razzle-dazzle that everyone , especially movie musical fans , has been hoping for .


australian actor\/director john polson and award-winning english cinematographer giles nuttgens make a terrific effort at disguising the obvious with energy and innovation .


the threat implied in the title pokémon 4ever is terrifying -- like locusts in a horde these things will keep coming .


at once a testament to the divine calling of education and a demonstration of the painstaking process of imparting knowledge .


brilliantly written and well-acted , yellow asphalt is an uncompromising film .


the off-center humor is a constant , and the ensemble gives it a buoyant delivery .


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


-- is a crime that should be punishable by chainsaw .


even with harris 's strong effort , the script gives him little to effectively probe lear 's soul-stripping breakdown .


from blushing to gushing -- imamura squirts the screen in ` warm water under a red bridge '


this is a harrowing movie about how parents know where all the buttons are , and how to push them .


... a light , yet engrossing piece .


if there ai n't none , you have a problem .


-lrb- gayton 's script -rrb- telegraphs every discovery and layers on the gloss of convenience .


an empty , purposeless exercise .


the fluid motion is astounding on any number of levels -- including the physical demands made on büttner -- and it implies in its wake the intractable , irreversible flow of history .


the movie weighs no more than a glass of flat champagne .


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


a fun ride .


auto focus is not your standard hollywood bio-pic .


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


it 's an actor 's showcase that accomplishes its primary goal without the use of special effects , but rather by emphasizing the characters -- including the supporting ones .


the heedless impetuousness of youth is on full , irritating display in -lrb- this -rrb- meandering and pointless french coming-of-age import from writer-director anne-sophie birot .


a crude teen-oriented variation on a theme that the playwright craig lucas explored with infinitely more grace and eloquence in his prelude to a kiss .


chalk it up as the worst kind of hubristic folly .


impostor does n't do much with its template , despite a remarkably strong cast .


offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film .


hypnotically dull , relentlessly downbeat , laughably predictable wail pitched to the cadence of a depressed fifteen-year-old 's suicidal poetry .


so bland and utterly forgettable that it might as well have been titled generic jennifer lopez romantic comedy .


always destined to be measured against anthony asquith 's acclaimed 1952 screen adaptation .


confessions is n't always coherent , but it 's sharply comic and surprisingly touching , so hold the gong .


a welcome relief from baseball movies that try too hard to be mythic , this one is a sweet and modest and ultimately winning story .


boyd 's screenplay -lrb- co-written with guardian hack nick davies -rrb- has a florid turn of phrase that owes more to guy ritchie than the bard of avon .


most of the film feels conceived and shot on the fly -- like between lunch breaks for shearer 's radio show and his simpson voice-overs .


the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits .


hate it because it 's lousy .


it collapses when mr. taylor tries to shift the tone to a thriller 's rush .


amid the shock and curiosity factors , the film is just a corny examination of a young actress trying to find her way .


reno himself can take credit for most of the movie 's success .


-lrb- green is -rrb- the comedy equivalent of saddam hussein , and i 'm just about ready to go to the u.n. and ask permission for a preemptive strike .


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


for a debut film , skin of man , heart of beast feels unusually assured .


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 .


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


blue crush follows the formula , but throws in too many conflicts to keep the story compelling .


though tom shadyac 's film kicks off spookily enough , around the halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .


-lrb- westbrook -rrb- makes a wonderful subject for the camera .


it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .


it has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care , but animated by an energy that puts the dutiful efforts of more disciplined grade-grubbers to shame .


the venezuelans say things like `` si , pretty much '' and `` por favor , go home '' when talking to americans .


peppered with witty dialogue and inventive moments .


and lee seems just as expectant of an adoring , wide-smiling reception .


feels as if the inmates have actually taken over the asylum .


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


what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .


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


` you 'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied .


this starts off with a 1950 's doris day feel and it gets very ugly , very fast .


the movie ultimately relies a bit too heavily on grandstanding , emotional , rocky-like moments ... but it 's such a warm and charming package that you 'll feel too happy to argue much .


if i have to choose between gorgeous animation and a lame story -lrb- like , say , treasure planet -rrb- or so-so animation and an exciting , clever story with a batch of appealing characters , i 'll take the latter every time .


... will always be remembered for the 9-11 terrorist attacks .


enigma lacks it .


the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and the violence is at once luridly graphic and laughably unconvincing .


the transporter bombards the viewer with so many explosions and side snap kicks that it ends up being surprisingly dull .


by its modest , straight-ahead standards , undisputed scores a direct hit .


even if it is generally amusing from time to time , i spy has all the same problems the majority of action comedies have .


adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt


you can drive right by it without noticing anything special , save for a few comic turns , intended and otherwise .


bean drops the ball too many times ... hoping the nifty premise will create enough interest to make up for an unfocused screenplay .


polanski has found the perfect material with which to address his own world war ii experience in his signature style .


the narrative is so consistently unimaginative that probably the only way to have saved the film is with the aid of those wisecracking mystery science theater 3000 guys .


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


the importance of being earnest movie seems to be missing a great deal of the acerbic repartee of the play . ''


and we do n't avert our eyes for a moment .


using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater .


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


an elegant and sly deadpan comedy .


the film is a masterpiece of nuance and characterization , marred only by an inexplicable , utterly distracting blunder at the very end .


first-timer john mckay is never able to pull it back on course .


it 's funny and human and really pretty damned wonderful , all at once .


while it has definite weaknesses -- like a rather unbelievable love interest and a meandering ending -- this '60s caper film is a riveting , brisk delight .


a 75-minute sample of puerile rubbish that is listless , witless , and devoid of anything resembling humor .


an appalling ` ace ventura ' rip-off that somehow manages to bring together kevin pollak , former wrestler chyna and dolly parton .


in a word : no. .


an instance of an old dog not only learning but inventing a remarkable new trick .


those of you who do n't believe in santa claus probably also think that sequels can never capture the magic of the original .


an action\/thriller of the finest kind , evoking memories of day of the jackal , the french connection , and heat .


it 's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland .


morrissette has performed a difficult task indeed - he 's taken one of the world 's most fascinating stories and made it dull , lifeless , and irritating .


feel free to go get popcorn whenever he 's not onscreen .


maggie g. makes an amazing breakthrough in her first starring role and eats up the screen .


the pool drowned me in boredom .


lame sweet home leaves no southern stereotype unturned .


if a horror movie 's primary goal is to frighten and disturb , then they works spectacularly well ... a shiver-inducing , nerve-rattling ride .


a complete waste of time .


triple x is a double agent , and he 's one bad dude .


when the heroes were actually under 40 ?


all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad .


the kind of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly executed idea .


quelle surprise !


strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .


the three leads produce adequate performances , but what 's missing from this material is any depth of feeling .


the camera soars above 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 .


the reason to see `` sade '' lay with the chemistry and complex relationship between the marquis -lrb- auteil -rrb- and emilie -lrb- le besco -rrb- .


anyone else who may , for whatever reason , be thinking about going to see this movie is hereby given fair warning .


leading a double life in an american film only comes to no good , but not here .


a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


when -lrb- reno -rrb- lets her radical flag fly , taking angry potshots at george w. bush , henry kissinger , larry king , et al. , reno devolves into a laugh-free lecture .


makes 98 minutes feel like three hours .


it 's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming .


the pinochet case is a searing album of remembrance from those who , having survived , suffered most .


you wo n't look at religious fanatics -- or backyard sheds -- the same way again .


everything else about high crimes is , like the military system of justice it portrays , tiresomely regimented .


it 's hard to believe that a relationship like holly and marina 's could survive the hothouse emotions of teendom , and its longevity gets more inexplicable as the characterizations turn more crassly reductive .


its juxtaposition of overwrought existentialism and stomach-churning gore will have you forever on the verge of either cracking up or throwing up .


the beautifully choreographed kitchen ballet is simple but absorbing .


but the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .


not only is it a charming , funny and beautifully crafted import , it uses very little dialogue , making it relatively effortless to read and follow the action at the same time .


if only there were one for this kind of movie .


more intimate than spectacular , e.t. is carried less by wow factors than by its funny , moving yarn that holds up well after two decades .


sandra bullock 's best dramatic performance to date -lrb- is -rrb- almost enough to lift -lrb- this -rrb- thrill-kill cat-and-mouser ... above its paint-by-numbers plot .


this fascinating experiment plays as more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air .


nettelbeck ... has a pleasing way with a metaphor .


williams absolutely nails sy 's queasy infatuation and overall strangeness .


the movie itself is far from disappointing , offering an original take on courtroom movies , a few nifty twists that are so crucial to the genre and another first-rate performance by top-billed star bruce willis .


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


moving and vibrant .


the 70-year-old godard has become , to judge from in praise of love , the sort of bitter old crank who sits behind his light meter and harangues the supposed injustices of the artistic world-at-large without doing all that much to correct them .


do n't hate el crimen del padre amaro because it 's anti-catholic .


this is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party .


the picture emerges as a surprisingly anemic disappointment .


waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it .


while the ensemble player who gained notice in guy ritchie 's lock , stock and two smoking barrels and snatch has the bod , he 's unlikely to become a household name on the basis of his first starring vehicle .


stanley kwan has directed not only one of the best gay love stories ever made , but one of the best love stories of any stripe .


toes the fine line between cheese and earnestness remarkably well ; everything is delivered with such conviction that it 's hard not to be carried away .


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


a glorious mess .


it 's sincere to a fault , but , unfortunately , not very compelling or much fun .


a wry , affectionate delight .


jae-eun jeong 's take care of my cat brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images that it emerges as another key contribution to the flowering of the south korean cinema .


moves in such odd plot directions and descends into such message-mongering moralism that its good qualities are obscured .


i 've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .


this is a children 's film in the truest sense .


mckay shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .


brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life 's harshness .


you just know something terrible is going to happen .


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


a plodding look at the french revolution through the eyes of aristocrats .


it 's just that it 's so not-at-all-good .


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


like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand .


functions as both a revealing look at the collaborative process and a timely , tongue-in-cheek profile of the corporate circus that is the recording industry in the current climate of mergers and downsizing .


it 's not exactly worth the bucks to expend the full price for a date , but when it comes out on video , it 's well worth a rental .


rarely does such high-profile talent serve such literate material .


simply does n't have sufficient heft to justify its two-hour running time .


director juan jose campanella could have turned this into an argentine retread of `` iris '' or `` american beauty , '' but instead pulls a little from each film and creates something more beautiful than either of those films .


fantastic !


did no one on the set have a sense of humor , or did they not have the nerve to speak up ?


traffics in the kind of prechewed racial clichés that have already been through the corporate stand-up-comedy mill .


for the most part , it works beautifully as a movie without sacrificing the integrity of the opera .


with this masterful , flawless film , -lrb- wang -rrb- emerges in the front ranks of china 's now numerous , world-renowned filmmakers .


did we really need a remake of `` charade ? ''


there 's an excellent 90-minute film here ; unfortunately , it runs for 170 .


chaiken ably balances real-time rhythms with propulsive incident .


this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short .


because the intelligence level of the characters must be low , very low , very very low , for the masquerade to work , the movie contains no wit , only labored gags .


there 's no point of view , no contemporary interpretation of joan 's prefeminist plight , so we 're left thinking the only reason to make the movie is because present standards allow for plenty of nudity .


as ex-marine walter , who may or may not have shot kennedy , actor raymond j. barry is perfectly creepy and believable .


a perfectly acceptable , perfectly bland , competently acted but by no means scary horror movie .


like the original , this version is raised a few notches above kiddie fantasy pablum by allen 's astringent wit .


greengrass -lrb- working from don mullan 's script -rrb- forgoes the larger socio-political picture of the situation in northern ireland in favour of an approach that throws one in the pulsating thick of a truly frightening situation .


it will make you think twice about what might be going on inside each trailer park you drive past -- even if it chiefly inspires you to drive a little faster .


... a movie that , quite simply , should n't have been made .


should be required viewing for civics classes and would-be public servants alike .


both deserve better .


broomfield reveals an ironic manifestation of institutionalized slavery that ties a black-owned record label with a white-empowered police force .


a sly female empowerment movie , although not in a way anyone would expect .


jolie gives it that extra little something that makes it worth checking out at theaters , especially if you 're in the mood for something more comfortable than challenging .


none of this has the suavity or classical familiarity of bond , but much of it is good for a laugh .


the attempt to build up a pressure cooker of horrified awe emerges from the simple fact that the movie has virtually nothing to show .


a lovably old-school hollywood confection .


who is this movie for ?


with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


there 's nothing remotely topical or sexy here .


the journey is worth your time , especially if you have ellen pompeo sitting next to you for the ride .


what the audience feels is exhaustion , from watching a movie that is dark -lrb- dark green , to be exact -rrb- , sour , bloody and mean .


that rare documentary that incorporates so much of human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film .


it appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up .


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


though it pretends to expose the life of male hustlers , it 's exploitive without being insightful .


some people march to the beat of a different drum , and if you ever wondered what kind of houses those people live in , this documentary takes a look at 5 alternative housing options .


jeffrey tambor 's performance as the intelligent jazz-playing exterminator is oscar-worthy .


the filmmakers ' eye for detail and the high standards of performance convey a strong sense of the girls ' environment .


it 's dark and tragic , and lets the business of the greedy talent agents get in the way of saying something meaningful about facing death


like coming into a long-running , well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .


if -lrb- jaglom 's -rrb- latest effort is not the director at his most sparkling , some of its repartee is still worth hearing .


halfway through , however , having sucked dry the undead action flick formula , blade ii mutates into a gross-out monster movie with effects that are more silly than scary .


this is pure , exciting moviemaking .


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


delivers roughly equal amounts of beautiful movement and inside information .


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


there 's nothing exactly wrong here , but there 's not nearly enough that 's right .


`` the dangerous lives of altar boys '' has flaws , but it also has humor and heart and very talented young actors


if you can swallow its absurdities and crudities lagaan really is enormously good fun .


competently directed but terminally cute drama .


you can see where big bad love is trying to go , but it never quite gets there .


an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character .


this is an elegantly balanced movie -- every member of the ensemble has something fascinating to do -- that does n't reveal even a hint of artifice .


my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it .


a film about female friendship that men can embrace and women will talk about for hours .


despite its faults , gangs excels in spectacle and pacing .


an engrossing and grim portrait of hookers : what they think of themselves and their clients .


its gentle , touching story creeps into your heart .


what 's infuriating about full frontal is that it 's too close to real life to make sense .


like its parade of predecessors , this halloween is a gory slash-fest .


a movie that 's held captive by mediocrity .


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


... strips bible stores of the potential for sanctimoniousness , making them meaningful for both kids and church-wary adults .


the holiday message of the 37-minute santa vs. the snowman leaves a lot to be desired .


the pace of the film is very slow -lrb- for obvious reasons -rrb- and that too becomes off-putting .


this quiet , introspective and entertaining independent is worth seeking .


suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands .


a pleasing , often-funny comedy .


essentially , the film is weak on detail and strong on personality


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


a tired , predictable , bordering on offensive , waste of time , money and celluloid .


a gem of a romantic crime comedy that turns out to be clever , amusing and unpredictable .


one of the very best movies ever made about the life of moviemaking .


and that holds true for both the movie and the title character played by brendan fraser .


that the chuck norris `` grenade gag '' occurs about 7 times during windtalkers is a good indication of how serious-minded the film is .


sometimes entertaining , sometimes indulgent -- but never less than pure wankery .


significantly better than its 2002 children 's - movie competition .


laughably , irredeemably awful .


sexy and romantic .


reign of fire just might go down as one of the all-time great apocalypse movies .


intriguing and stylish .


it 's neither as sappy as big daddy nor as anarchic as happy gilmore or the waterboy , but it has its moments .


... stumbles over every cheap trick in the book trying to make the outrage come even easier .


a little better than sorcerer 's stone .


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


a dim-witted and lazy spin-off of the animal planet documentary series , crocodile hunter is entertainment opportunism at its most glaring .


a decent-enough nail-biter that stands a good chance of being the big hit franklin needs to stay afloat in hollywood .


... a great , participatory spectator sport . '


two badly interlocked stories drowned by all too clever complexity .


a really funny fifteen-minute short stretched beyond its limits to fill an almost feature-length film .


a rock-solid gangster movie with a fair amount of suspense , intriguing characters and bizarre bank robberies , plus a heavy dose of father-and-son dynamics .


a film that will be best appreciated by those willing to endure its extremely languorous rhythms , waiting for happiness is ultimately thoughtful without having much dramatic impact .


it 's not life-affirming -- its vulgar and mean , but i liked it .


it is n't that the picture is unfamiliar , but that it manages to find new avenues of discourse on old problems .


more sophisticated and literate than such pictures usually are ... an amusing little catch .


far-fetched premise , convoluted plot , and thematic mumbo jumbo about destiny and redemptive love .


a very good film sits in the place where a masterpiece should be .


this is very much of a mixed bag , with enough negatives to outweigh the positives .


spinning a web of dazzling entertainment may be overstating it , but `` spider-man '' certainly delivers the goods .


the story is virtually impossible to follow here , but there 's a certain style and wit to the dialogue .


this is n't exactly profound cinema , but it 's good-natured and sometimes quite funny .


about schmidt belongs to nicholson .


fontaine masterfully creates a portrait of two strong men in conflict , inextricably entwined through family history , each seeing himself in the other , neither liking what he sees .


there 's nothing like love to give a movie a b-12 shot , and cq shimmers with it .


the plot 's clearly mythic structure may owe more to disney 's strong sense of formula than to the original story .


troubling and powerful .


bisset delivers a game performance , but she is unable to save the movie .


this is the first full scale wwii flick from hong kong 's john woo .


a dark comedy that goes for sick and demented humor simply to do so .


as a movie , it never seems fresh and vital .


he 's not good with people .


it 's quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere .


but never mind all that ; the boobs are fantasti


as for children , they wo n't enjoy the movie at all .


an intelligently made -lrb- and beautifully edited -rrb- picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch .


a confident , richly acted , emotionally devastating piece of work and 2002 's first great film


we have an actor who is great fun to watch performing in a film that is only mildly diverting .


director alfonso cuaron gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films .


downbeat , period-perfect biopic hammers home a heavy-handed moralistic message .


if signs is a good film , and it is , the essence of a great one is in there somewhere .


time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers , '' but that does n't mean it still wo n't feel like the longest 90 minutes of your movie-going life .


the gifted crudup has the perfect face to play a handsome blank yearning to find himself , and his cipherlike personality and bad behavior would play fine if the movie knew what to do with him .


too many improbabilities and rose-colored situations temper what could 've been an impacting film .


it 's an unusual , thoughtful bio-drama with a rich subject and some fantastic moments and scenes .


the director seems to take an unseemly pleasure in -lrb- the characters ' -rrb- misery and at the same time to congratulate himself for having the guts to confront it .


the movie resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .


a reworking of die hard and cliffhanger but it 's nowhere near as exciting as either .


all in all , brown sugar is a satisfying well-made romantic comedy that 's both charming and well acted .


the action scenes have all the suspense of a 20-car pileup , while the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up .


the problem with the film is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau .


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


hip-hop rarely comes alive as its own fire-breathing entity in this picture .


deserves high marks for political courage but barely gets by on its artistic merits .


everything its title implies , a standard-issue crime drama spat out from the tinseltown assembly line .


spy-vs .


sometimes makes less sense than the bruckheimeresque american action flicks it emulates .


handled correctly , wilde 's play is a masterpiece of elegant wit and artifice .


an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .


when the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails .


... myers has turned his franchise into the movie version of an adolescent dirty-joke book done up in post-tarantino pop-culture riffs ...


kapur fails to give his audience a single character worth rooting for -lrb- or worth rooting against , for that matter -rrb- .


this is rote spookiness , with nary an original idea -lrb- or role , or edit , or score , or anything , really -rrb- in sight , and the whole of the proceedings beg the question ` why ? '


an ebullient tunisian film about the startling transformation of a tradition-bound widow who is drawn into the exotic world of belly dancing .


a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome .


it makes you believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film .


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


the metaphors are provocative , but too often , the viewer is left puzzled by the mechanics of the delivery .


the thing about guys like evans is this : you 're never quite sure where self-promotion ends and the truth begins .


the film aims to be funny , uplifting and moving , sometimes all at once .


where tom green stages his gags as assaults on america 's knee-jerk moral sanctimony , jackass lacks aspirations of social upheaval .


the film makes strong arguments regarding the social status of america 's indigenous people , but really only exists to try to eke out an emotional tug of the heart , one which it fails to get .


anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .


the animated sequences are well done and perfectly constructed to convey a sense of childhood imagination and creating adventure out of angst .


priggish , lethargically paced parable of renewal .


those who want to be jolted out of their gourd should drop everything and run to ichi .


it 's a fine , old-fashioned-movie movie , which is to say it 's unburdened by pretensions to great artistic significance .


genuinely unnerving .


-lrb- a -rrb- strong piece of work .


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


remarkable for its intelligence and intensity .


it 's an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise .


adaptation 's success in engaging the audience in the travails of creating a screenplay is extraordinary .


nothing but an episode of smackdown !


like most movies about the pitfalls of bad behavior ... circuit gets drawn into the party .


the best film of the year 2002 .


odd and weird .


romanek keeps adding flourishes -- artsy fantasy sequences -- that simply feel wrong .


a predictable , manipulative stinker .


the real triumphs in igby come from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron .


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


it 's never laugh-out-loud funny , but it is frequently amusing .


it 's not as awful as some of the recent hollywood trip tripe ... but it 's far from a groundbreaking endeavor .


the best thing that can be said of the picture is that it does have a few cute moments .


the moral shrapnel and mental shellshock will linger long after this film has ended .


it 's not the least of afghan tragedies that this noble warlord would be consigned to the dustbin of history .


time of favor could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation .


why spend $ 9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?


equlibrium could pass for a thirteen-year-old 's book report on the totalitarian themes of 1984 and farenheit 451 .


more concerned with overall feelings , broader ideas , and open-ended questions than concrete story and definitive answers , soderbergh 's solaris is a gorgeous and deceptively minimalist cinematic tone poem .


it 's a funny little movie with clever dialogue and likeable characters .


part of the charm of satin rouge is that it avoids the obvious with humour and lightness .


true hollywood story .


-lrb- a -rrb- boldly stroked , luridly coloured , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .


the ring is worth a look , if you do n't demand much more than a few cheap thrills from your halloween entertainment .


an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '


with a tone as variable as the cinematography , schaeffer 's film never settles into the light-footed enchantment the material needs , and the characters ' quirks and foibles never jell into charm .


much smarter and more attentive than it first sets out to be .


a cockeyed shot all the way .


... tara reid plays a college journalist , but she looks like the six-time winner of the miss hawaiian tropic pageant , so i do n't know what she 's doing in here ...


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


the story ... is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is .


a derivative collection of horror and sci-fi cliches .


but they lack their idol 's energy and passion for detail .


the story has little wit and no surprises .


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


but what 's nice is that there 's a casual intelligence that permeates the script .


kicks off with an inauspicious premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper .


its flame-like , roiling black-and-white inspires trembling and gratitude .


a wretched movie that reduces the second world war to one man 's quest to find an old flame .


mr. spielberg and his company just want you to enjoy yourselves without feeling conned .


the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .


a weird little movie that 's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media subcultures .


it 's easy to be cynical about documentaries in which underdogs beat the odds and the human spirit triumphs , but westbrook 's foundation and dalrymple 's film earn their uplift .


a charmer from belgium .


this is one of the outstanding thrillers of recent years .


changing lanes tries for more .


aimed squarely at the least demanding of demographic groups : very small children who will be delighted simply to spend more time with familiar cartoon characters .


where this was lazy but enjoyable , a formula comedy redeemed by its stars , that is even lazier and far less enjoyable .


here the love scenes all end in someone screaming .


smart , funny and just honest enough to provide the pleasures of a slightly naughty , just-above-average off - broadway play .


viewed as a comedy , a romance , a fairy tale , or a drama , there 's nothing remotely triumphant about this motion picture .


denver should not get the first and last look at one of the most triumphant performances of vanessa redgrave 's career .


berling and béart ... continue to impress , and isabelle huppert ... again shows uncanny skill in getting under the skin of her characters .


not a bad choice here , assuming that ... the air-conditioning in the theater is working properly .


its metaphors are opaque enough to avoid didacticism , and the film succeeds as an emotionally accessible , almost mystical work .


the performances are immaculate , with roussillon providing comic relief .


if routine action and jokes like this are your cup of tea , then pay your $ 8 and get ready for the big shear .


even if you 're an elvis person , you wo n't find anything to get excited about on this dvd .


witherspoon puts to rest her valley-girl image , but it 's dench who really steals the show .


darkly funny and frequently insightful .


stealing harvard does n't care about cleverness , wit or any other kind of intelligent humor .


i just saw this movie ... well , it 's probably not accurate to call it a movie .


lux , now in her eighties , does a great combination act as narrator , jewish grandmother and subject -- taking us through a film that is part biography , part entertainment and part history .


tackles the difficult subject of grief and loss with such life-embracing spirit that the theme does n't drag an audience down .


`` it 's all about the image . ''


what ` blade runner ' would 've looked like as a low-budget series on a uhf channel .


but it 's also disappointing to a certain degree .


because the film deliberately lacks irony , it has a genuine dramatic impact ; it plays like a powerful 1957 drama we 've somehow never seen before .


the most memorable moment was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration .


an intelligent , multi-layered and profoundly humanist -lrb- not to mention gently political -rrb- meditation on the values of knowledge , education , and the affects of cultural and geographical displacement .


it 's both degrading and strangely liberating to see people working so hard at leading lives of sexy intrigue , only to be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen .


morvern callar confirms lynne ramsay as an important , original talent in international cinema .


unfortunately the story and the actors are served with a hack script .


... passable enough for a shoot-out in the o.k. court house of life type of flick .


comes off like a bad imitation of the bard .


we 've liked klein 's other work but rollerball left us cold .


a cutesy romantic tale with a twist .


less the sensational true-crime hell-jaunt purists might like and more experimental in its storytelling -lrb- though no less horrifying for it -rrb- .


by no means a great movie , but it is a refreshingly forthright one .


so putrid it is not worth the price of the match that should be used to burn every print of the film .


but windtalkers does n't beat that one , either .


` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


those who do n't entirely ` get ' godard 's distinctive discourse will still come away with a sense of his reserved but existential poignancy .


an incredibly narrow in-joke targeted to the tiniest segment of an already obscure demographic .


this is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience .


hey arnold !


the movie strains to stay on the light , comic side of the issue , despite the difficulty of doing so when dealing with the destruction of property and , potentially , of life itself .


what begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters .


only in its final surprising shots does rabbit-proof fence find the authority it 's looking for .


this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come .


cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression .


the real charm of this trifle is the deadpan comic face of its star , jean reno , who resembles sly stallone in a hot sake half-sleep .


it 's sweet .


best indie of the year , so far .


it 's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time .


it is philosophy , illustrated through everyday events .


claude chabrol 's camera has a way of gently swaying back and forth as it cradles its characters , veiling tension beneath otherwise tender movements .


you have once again entered the bizarre realm where director adrian lyne holds sway , where all relationships are simultaneously broadly metaphorical , oddly abstract , and excruciatingly literal .


the movie is as padded as allen 's jelly belly .


more timely than its director could ever have dreamed , 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 .


the sum of all fears pretends to be a serious exploration of nuclear terrorism , but it 's really nothing more than warmed-over cold war paranoia .


if you saw benigni 's pinocchio at a public park , you 'd grab your kids and run and then probably call the police .


it 's tough 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 .


in the process of trimming the movie to an expeditious 84 minutes , director roger kumble seems to have dumped a whole lot of plot in favor of ... outrageous gags .


far away .


the punch lines that miss , unfortunately , outnumber the hits by three-to-one .


reveals how important our special talents can be when put in service of of others .


a film with a great premise but only a great premise .


a thought-provoking and often-funny drama about isolation .


mildly entertaining .


she 's all-powerful , a voice for a pop-cyber culture that feeds on her bjorkness .


it follows the blair witch formula for an hour , in which we 're told something creepy and vague is in the works , and then it goes awry in the final 30 minutes .


... a ho-hum affair , always watchable yet hardly memorable .


it will guarantee to have you leaving the theater with a smile on your face .


no amount of blood and disintegrating vampire cadavers can obscure this movie 's lack of ideas .


the nonstop artifice ultimately proves tiresome , with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations .


bang !


just like igby .


one of the best movies of the year .


malone does have a gift for generating nightmarish images that will be hard to burn out of your brain .


bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who are n't looking for them .


the touch is generally light enough and the performances , for the most part , credible .


while the production details are lavish , film has little insight into the historical period and its artists , particularly in how sand developed a notorious reputation .


it 's a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties .


one of the film 's most effective aspects is its tchaikovsky soundtrack of neurasthenic regret .


kenneth branagh 's energetic sweet-and-sour performance as a curmudgeonly british playwright grounds this overstuffed , erratic dramedy in which he and his improbably forbearing wife contend with craziness and child-rearing in los angeles .


a zombie movie in every sense of the word -- mindless , lifeless , meandering , loud , painful , obnoxious .


full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .


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 .


it cooks conduct in a low , smoky and inviting sizzle .


a movie that seems motivated more by a desire to match mortarboards with dead poets society and good will hunting than by its own story .


a movie that feels like the pilot episode of a new teen-targeted action tv series .


somehow ms. griffiths and mr. pryce bring off this wild welsh whimsy .


show me the mugging .


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


meandering and confusing .


plunges you into a reality that is , more often then not , difficult and sad , and then , without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision .


the movie does n't add anything fresh to the myth .


the sum of all fears is remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots -lrb- or cinema seats -rrb- .


banal and predictable .


with few respites , marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .


the production has been made with an enormous amount of affection , so we believe these characters love each other .


a late-night cable sexploitation romp masquerading as a thriller about the ruthless social order that governs college cliques .


like kubrick , soderbergh is n't afraid to try any genre and to do it his own way .


being unique does n't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .


kinnear 's performance is a career-defining revelation .


it never plays as dramatic even when dramatic things happen to people .


try this obscenely bad dark comedy , so crass that it makes edward burns ' sidewalks of new york look like oscar wilde .


it 's everything you 'd expect -- but nothing more .


it 's a wonderful , sobering , heart-felt drama .


unwieldy contraption .


whether or not you buy mr. broomfield 's findings , the film acquires an undeniable entertainment value as the slight , pale mr. broomfield continues to force himself on people and into situations that would make lesser men run for cover .


like any good romance , son of the bride , proves it 's never too late to learn .


crammed with incident , and bristles with passion and energy .


reggio and glass put on an intoxicating show .


... an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you 'll wonder if lopez 's publicist should share screenwriting credit .


the tonal shifts are jolting , and though wen 's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive .


triumph of love is a very silly movie , but the silliness has a pedigree .


a sterling film - a cross between boys do n't cry , deliverance , and ode to billy joe - lies somewhere in the story of matthew shepard , but that film is yet to be made .


the humor and humanity of monsoon wedding are in perfect balance .


... is there a deeper , more direct connection between these women , one that spans time and reveals meaning ?


made to be jaglomized is the cannes film festival , the annual riviera spree of flesh , buzz , blab and money .


the most ingenious film comedy since being john malkovich .


offers a guilt-free trip into feel-good territory .


a chilly , brooding but quietly resonant psychological study of domestic tension and unhappiness .


nothing short of wonderful with its ten-year-old female protagonist and its steadfast refusal to set up a dualistic battle between good and evil .


consider it ` perfection . '


it 's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads .


both flawed and delayed , martin scorcese 's gangs of new york still emerges as his most vital work since goodfellas .


a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation .


a laughable -- or rather , unlaughable -- excuse for a film .


is it a comedy ?


hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .


according to wendigo , ` nature ' loves the members of the upper class almost as much as they love themselves .


just watch bettany strut his stuff .


more than anything else , kissing jessica stein injects freshness and spirit into the romantic comedy genre , which has been held hostage by generic scripts that seek to remake sleepless in seattle again and again .


a big , loud , bang-the-drum bore .


not a strike against yang 's similarly themed yi yi , but i found what time ?


nothing about them is attractive .


as underwater ghost stories go , below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle .


13 conversations may be a bit too enigmatic and overly ambitious to be fully successful , but sprecher and her screenwriting partner and sister , karen sprecher , do n't seem ever to run out of ideas .


mr. deeds is not really a film as much as it is a loose collection of not-so-funny gags , scattered moments of lazy humor .


like a fish that 's lived too long , austin powers in goldmember has some unnecessary parts and is kinda wrong in places .


yes , it 's as good as you remember .


the weird thing about the santa clause 2 , purportedly a children 's movie , is that there is nothing in it to engage children emotionally .


a sentimental but entirely irresistible portrait of three aging sisters .


rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid ...


the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence .


that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .


snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .


it made me 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 .


armed with a game supporting cast , from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud .


with amazing finesse , the film shadows heidi 's trip back to vietnam and the city where her mother , mai thi kim , still lives .


though this saga would be terrific to read about , it is dicey screen material that only a genius should touch .


a fan film that for the uninitiated plays better on video with the sound turned down .


an enjoyable above average summer diversion .


after one gets the feeling that the typical hollywood disregard for historical truth and realism is at work here , it 's a matter of finding entertainment in the experiences of zishe and the fiery presence of hanussen .


the spalding gray equivalent of a teen gross-out comedy .


despite the pyrotechnics , narc is strictly by the book .


a delightful romantic comedy with plenty of bite .


mcgrath has deftly trimmed dickens ' wonderfully sprawling soap opera , the better to focus on the hero 's odyssey from cowering poverty to courage and happiness .


imperfect ?


while it is interesting to witness the conflict from the palestinian side , longley 's film lacks balance ... and fails to put the struggle into meaningful historical context .


there 's no doubting that this is a highly ambitious and personal project for egoyan , but it 's also one that , next to his best work , feels clumsy and convoluted .


when you find yourself rooting for the monsters in a horror movie , you know the picture is in trouble .


a witty , trenchant , wildly unsentimental but flawed look at the ins and outs of modern moviemaking .


i 've never bought from telemarketers , but i bought this movie .


e.t. works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet .


just how these families interact may surprise you .


notwithstanding my problem with the movie 's final half hour , i 'm going to recommend secretary , based on the wonderful acting clinic put on by spader and gyllenhaal , and also the unique way shainberg goes about telling what at heart is a sweet little girl -


a typically observant , carefully nuanced and intimate french coming-of-age film that is an encouraging debut feature but has a needlessly downbeat ending that is too heavy for all that has preceded it .


the movie is almost completely lacking in suspense , surprise and consistent emotional conviction .


the film does n't really care about the thousands of americans who die hideously , it cares about how ryan meets his future wife and makes his start at the cia .


the film virtually chokes on its own self-consciousness .


the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note : there 's very little hustling on view .


gaunt , silver-haired and leonine , -lrb- harris -rrb- brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman .


shiri is an action film that delivers on the promise of excitement , but it also has a strong dramatic and emotional pull that gradually sneaks up on the audience .


more tiring than anything .


debate it .


i found myself more appreciative of what the director was trying to do than of what he had actually done .


a bland animated sequel that hardly seems worth the effort .


the quirky and recessive charms of co-stars martin donovan and mary-louise parker help overcome the problematic script .


an uninspired preachy and clichéd war film .


it 's a fun adventure movie for kids -lrb- of all ages -rrb- that like adventure .


a film without surprise geared toward maximum comfort and familiarity .


a sha-na-na sketch punctuated with graphic violence .


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 .


-lrb- a -rrb- wonderfully loopy tale of love , longing , and voting .


i walked away from this new version of e.t. just as i hoped i would -- with moist eyes .


a good-looking but ultimately pointless political thriller with plenty of action and almost no substance .


schrader examines crane 's decline with unblinking candor .


is that it 's a crime movie made by someone who obviously knows nothing about crime .


the animation and backdrops are lush and inventive , yet return to neverland never manages to take us to that elusive , lovely place where we suspend our disbelief .


this is a film about the irksome , tiresome nature of complacency that remains utterly satisfied to remain the same throughout .


a frustrating yet deeply watchable melodrama that makes you think it 's a tougher picture than it is .


it 's a masterpiece .


he fails .


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


the thing looks like a made-for-home-video quickie .


consistently clever and suspenseful .


not many movies have that kind of impact on me these days .


like a grinning jack o ' lantern , its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .


proves a servicable world war ii drama that ca n't totally hide its contrivances , but it at least calls attention to a problem hollywood too long has ignored .


a fresh-faced , big-hearted and frequently funny thrill ride for the kiddies , with enough eye candy and cheeky wit to keep parents away from the concession stand . '


for a film about action , ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .


a movie just for friday fans , critics be damned .


touches smartly and wistfully on a number of themes , not least the notion that the marginal members of society ... might benefit from a helping hand and a friendly kick in the pants .


it 's a solid movie about people whose lives are anything but .


it ca n't escape its past , and it does n't want to .


director kevin bray excels in breaking glass and marking off the `` miami vice '' checklist of power boats , latin music and dog tracks .


a pretty funny movie , with most of the humor coming , as before , from the incongruous but chemically perfect teaming of crystal and de niro .


red dragon is less baroque and showy than hannibal , and less emotionally affecting than silence .


the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic .


far too clever by half , howard 's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .


just when you think that every possible angle has been exhausted by documentarians , another new film emerges with yet another remarkable yet shockingly little-known perspective .


charlie hunnam has the twinkling eyes , repressed smile and determined face needed to carry out a dickensian hero .


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


witless but watchable .


a fifty car pileup of cliches .


nothing about this movie works .


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


here polanski looks back on those places he saw at childhood , and captures them by freeing them from artefact , and by showing them heartbreakingly drably .


... a true delight .


calculated swill .


like the world of his film , hartley created a monster but did n't know how to handle it .


a photographic marvel of sorts , and it 's certainly an invaluable record of that special fishy community .


despite its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick , the basic plot of `` lilo '' could have been pulled from a tear-stained vintage shirley temple script .


precocious smarter-than-thou wayward teen struggles to rebel against his oppressive , right-wing , propriety-obsessed family .


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 . ''


like shrek , spirit 's visual imagination 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 .


one of the oddest and most inexplicable sequels in movie history .


anyone who wants to start writing screenplays can just follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity .


in a 102-minute film , aaliyah gets at most 20 minutes of screen time .


still , not every low-budget movie must be quirky or bleak , and a happy ending is no cinematic sin .


intelligent and moving .


men in black ii achieves ultimate insignificance -- it 's the sci-fi comedy spectacle as whiffle-ball epic .


any rock pile will do for a set .


now here 's a sadistic bike flick that would have made vittorio de sica proud .


presents a side of contemporary chinese life that many outsiders will be surprised to know exists , and does so with an artistry that also smacks of revelation .


a huge box-office hit in korea , shiri is a must for genre fans .


when you think you 've figured out bielinsky 's great game , that 's when you 're in the most trouble : he 's the con , and you 're just the mark .


director peter kosminsky gives these women a forum to demonstrate their acting ` chops ' and they take full advantage .


it 's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing .


skillful as he is , mr. shyamalan is undone by his pretensions .


it 's a 100-year old mystery that is constantly being interrupted by elizabeth hurley in a bathing suit .


proof of this is ballistic : ecks vs. sever .


femme fatale offers nothing more than a bait-and-switch that is beyond playing fair with the audience .


despite auteuil 's performance , it 's a rather listless amble down the middle of the road , where the thematic ironies are too obvious and the sexual politics too smug .


the film is reasonably entertaining , though it begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy .


this is a picture that maik , the firebrand turned savvy ad man , would be envious of : it hijacks the heat of revolution and turns it into a sales tool .


rich in shadowy metaphor and as sharp as a samurai sword , jiang wen 's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut .


bogs down badly as we absorb jia 's moody , bad-boy behavior which he portrays himself in a one-note performance .


nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises .


with exquisite craftsmanship ... olivier assayas has fashioned an absorbing look at provincial bourgeois french society .


but , like silence , it 's a movie that gets under your skin .


the movie 's seams may show ... but pellington gives `` mothman '' an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling .


neither quite a comedy nor a romance , more of an impish divertissement of themes that interest attal and gainsbourg -- they live together -- the film has a lot of charm .


a different and emotionally reserved type of survival story -- a film less about refracting all of world war ii through the specific conditions of one man , and more about that man lost in its midst .


`` solaris '' is a shapeless inconsequential move relying on the viewer to do most of the work .


while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii .


most of the storylines feel like time fillers between surf shots .


an engrossing iranian film about two itinerant teachers and some lost and desolate people they encounter in a place where war has savaged the lives and liberties of the poor and the dispossessed .


the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl .


so unique and stubborn and charismatic that you want it to be better and more successful than it is .


a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .


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


the movie 's major and most devastating flaw is its reliance on formula , though , and it 's quite enough to lessen the overall impact the movie could have had .


if you 're over 25 , have an iq over 90 , and have a driver 's license , you should be able to find better entertainment .


as it is , it 's too long and unfocused .


a wild ride juiced with enough energy and excitement for at least three films .


the strong subject matter continues to shock throughout the film .


it was filled with shootings , beatings , and more cussing than you could shake a stick at .


watching queen of the damned is like reading a research paper , with special effects tossed in .


... a quietly introspective portrait of the self-esteem of employment and the shame of losing a job ...