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the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them .

exactly what you 'd expect from a guy named kaos .

for this sort of thing to work , we need agile performers , but the proficient , dull sorvino has no light touch , and rodan is out of his league .

i had more fun with ben stiller 's zoolander , which i thought was rather clever .

juliette binoche 's sand is vivacious , but it 's hard to sense that powerhouse of 19th-century prose behind her childlike smile .

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

but not a whit more .

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 .

woody allen has really found his groove these days .

the screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a `` dungeons and dragons '' fantasy with modern military weaponry ...

delirious fun .

what might have been acceptable on the printed page of iles ' book does not translate well to the screen .

ice cube is n't quite out of ripe screwball ideas , but friday after next spreads them pretty thin .

director david fincher and writer david koepp ca n't sustain it .

displays the potential for a better movie than what bailly manages to deliver

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

( the digital effects ) reminded me of terry gilliam 's rudimentary old monty python cartoons , in which he would cut out figures from drawings and photographs and paste them together .

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 .

what lifts the film high above run-of-the-filth gangster flicks is its refusal to recognise any of the signposts , as if discovering a way through to the bitter end without a map .

it gets the details of its time frame right but it completely misses its emotions .

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

does anyone much think the central story of brendan behan is that he was a bisexual sweetheart before he took to drink ?

what we have is a character faced with the possibility that her life is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance .

with a cast of a-list brit actors , it is worth searching out .

it 's refreshing that someone understands the need for the bad boy ; diesel , with his brawny frame and cool , composed delivery , fits the bill perfectly .

for all of its insights into the dream world of teen life , and its electronic expression through cyber culture , the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1\/2 - hour running time .

most of the characters come off as pantomimesque sterotypes .

as self-aware movies go , who is cletis tout ?

with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins .

clooney directs this film always keeping the balance between the fantastic and the believable ...

happy times maintains an appealing veneer without becoming too cute about it .

tv skit-com material fervently deposited on the big screen .

a compelling film .

the film 's unhurried pace is actually one of its strengths .

the same should go for movie theaters .

it certainly wo n't win any awards in the plot department but it sets out with no pretensions and delivers big time .

most of the things that made the original men in black such a pleasure are still there .

cold , sterile and lacking any color or warmth .

a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document -- its makers are n't removed and inquisitive enough for that .

the entire movie has a truncated feeling , but what 's available is lovely and lovable .

... the movie feels stitched together from stock situations and characters from other movies .

with an obvious rapport with her actors and a striking style behind the camera , hélène angel is definitely a director to watch .

aptly named , this shimmering , beautifully costumed and filmed production does n't work for me .

a deft , delightful mix of sulky teen drama and overcoming-obstacles sports-movie triumph .

a few energetic stunt sequences briefly enliven the film , but the wheezing terrorist subplot has n't the stamina for the 100-minute running time , and the protagonists ' bohemian boorishness mars the spirit of good clean fun .

an uplifting drama ... what antwone fisher is n't , however , is original .

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

there 's nothing to gain from watching they .

debut effort by `` project greenlight '' winner is sappy and amateurish .

your 20th outing shows off a lot of stamina and vitality , and get this , madonna 's cameo does n't suck !

an absurdist spider web .

a journey that is as difficult for the audience to take as it is for the protagonist -- yet it 's potentially just as rewarding .

rather less than the sum of its underventilated père-fils confrontations .

an entertaining documentary that freshly considers arguments the bard 's immortal plays were written by somebody else .

`` me without you '' is a probing examination of a female friendship set against a few dynamic decades .

stay away .

contrasting the original ringu with the current americanized adaptation is akin to comparing the evil dead with evil dead ii

skip this dreck , rent animal house and go back to the source .

beautifully filmed and well acted ... but admittedly problematic in its narrative specifics .

if you 're burnt out on it 's a wonderful life marathons and bored with a christmas carol , it might just be the movie you 're looking for .

the film 's highlight is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .

the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .

the good thing -- the only good thing -- about extreme ops is that it 's so inane that it gave me plenty of time to ponder my thanksgiving to-do list .

it 's sort of a 21st century morality play with a latino hip hop beat .

should n't have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie .

decent but dull .

get out your pooper-scoopers .

humor in i spy is so anemic .

at least it 's a fairly impressive debut from the director , charles stone iii .

try as you might to resist , if you 've got a place in your heart for smokey robinson , this movie will worm its way there .

if the film has a problem , its shortness disappoints : you want the story to go on and on .

there 's not a fresh idea at the core of this tale .

this film is so different from the apple and so striking that it can only encourage us to see samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success .

this is a movie where the most notable observation is how long you 've been sitting still .

technically and artistically inept .

... overly melodramatic ...

you 'll get the enjoyable basic minimum .

trouble every day is a success in some sense , but it 's hard to like a film so cold and dead .

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

in all the annals of the movies , few films have been this odd , inexplicable and unpleasant .

allen 's funniest and most likeable movie in years .

highly uneven and inconsistent ... margarita happy hour kinda resembles the el cheapo margaritas served within .

weiss and speck never make a convincing case for the relevance of these two 20th-century footnotes .

the effort is sincere and the results are honest , but the film is so bleak that it 's hardly watchable .

earnest and tentative even when it aims to shock .

blithely anachronistic and slyly achronological .

the scriptwriters are no less a menace to society than the film 's characters .

a big-budget\/all-star movie as unblinkingly pure as the hours is a distinct rarity , and an event .

an enormously entertaining movie , like nothing we 've ever seen before , and yet completely familiar .

even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .

as a movie , it never seems fresh and vital .

deepa mehta provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world .

a cheap scam put together by some cynical creeps at revolution studios and imagine entertainment to make the suckers out there surrender $ 9 and 93 minutes of unrecoverable life .

not once does it come close to being exciting .

it 's a hellish , numbing experience to watch , and it does n't offer any insights that have n't been thoroughly debated in the media already , back in the dahmer heyday of the mid - '90s .

the film is hampered by its predictable plot and paper-thin supporting characters .

... standard guns versus martial arts cliche with little new added .

a noble failure .

much of what we see is horrible but it 's also undeniably exceedingly clever .

there 's not a comedic moment in this romantic comedy .