Datasets:

KaiLv

/

UDR_SST-5

like 0

rather , pity anyone who sees this mishmash .

return to never land may be another shameless attempt by disney to rake in dough from baby boomer families , but it 's not half-bad .

the movie , despite its rough edges and a tendency to sag in certain places , is wry and engrossing .

much like robin williams , death to smoochy has already reached its expiration date .

a pleasing , often-funny comedy .

a tour de force drama about the astonishingly pivotal role of imagination in the soulful development of two rowdy teenagers .

good actors have a radar for juicy roles -- there 's a plethora of characters in this picture , and not one of them is flat .

after all , it 'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies .

it concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt .

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

has an uppity musical beat that you can dance to , but its energy ca n't compare to the wit , humor and snappy dialogue of the original .

that is because - damn it !

bad company .

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 .

if you 've grown tired of going where no man has gone before , but several movies have - take heart .

unintelligible , poorly acted , brain-slappingly bad , harvard man is ludicrous enough that it could become a cult classic .

swiftly deteriorates into a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell .

dodgy mixture of cutesy romance , dark satire and murder mystery .

almost everyone growing up believes their family must look like `` the addams family '' to everyone looking in ... `` my big fat greek wedding '' comes from the heart ...

an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .

despite its old-hat set-up and predictable plot , empire still has enough moments to keep it entertaining .

otherwise , this could be a passable date film .

( at least ) moore is a real charmer .

leaves viewers out in the cold and undermines some phenomenal performances .

this rush to profits has created a predictably efficient piece of business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you had n't seen , which , in this day and age , is of course the point .

as warren he stumbles in search of all the emotions and life experiences he 's neglected over the years .

the concept behind kung pow : enter the fist is hilarious .

bang !

by not averting his eyes , solondz forces us to consider the unthinkable , the unacceptable , the unmentionable .

... better described as a ghost story gone badly awry .

the movie itself appears to be running on hypertime in reverse as the truly funny bits get further and further apart .

does n't get the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez .

tsai has a well-deserved reputation as one of the cinema world 's great visual stylists , and in this film , every shot enhances the excellent performances .

a movie that 's about as overbearing and over-the-top as the family it depicts .

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

elegantly crafted but emotionally cold , a puzzle whose intricate construction one can admire but is difficult to connect with on any deeper level .

it 's hard to understand why anyone in his right mind would even think to make the attraction a movie .

sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet it 's geared toward an audience full of masters of both .

donovan ... squanders his main asset , jackie chan , and fumbles the vital action sequences .

this angst-ridden territory was covered earlier and much better in ordinary people .

the film is darkly atmospheric , with herrmann quietly suggesting the sadness and obsession beneath hearst 's forced avuncular chortles .

in spite of featuring a script credited to no fewer than five writers , apparently nobody here bothered to check it twice .

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 .

the most compelling performance of the year adds substantial depth to this shocking testament to anti-semitism and neo-fascism .

just a kiss wants desperately to come off as a fanciful film about the typical problems of average people .

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

a film that clearly means to preach exclusively to the converted .

a sentimental hybrid that could benefit from the spice of specificity .

despite slick production values and director roger michell 's tick-tock pacing , the final effect is like having two guys yelling in your face for two hours .

well , jason 's gone to manhattan and hell , i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger ) .

like a veteran head cutter , barbershop is tuned in to its community .

brisk hack job .

the grey zone gives voice to a story that needs to be heard in the sea of holocaust movies ... but the film suffers from its own difficulties .

national lampoon 's van wilder may aim to be the next animal house , but it more closely resembles this year 's version of tomcats .

well , it 's not as pathetic as the animal .

thumbs up to paxton for not falling into the hollywood trap and making a vanity project with nothing new to offer .

performances all around are tops , with the two leads delivering oscar-caliber performances .

qutting may be a flawed film , but it is nothing if not sincere .

it does n't offer audiences any way of gripping what its point is , or even its attitude toward its subject .

though the film never veers from its comic course , its unintentional parallels might inadvertently evoke memories and emotions which are anything but humorous .

if sinise 's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over .

miller comes at film with bracing intelligence and a vision both painterly and literary .

at the film 's centre is a precisely layered performance by an actor in his mid-seventies , michel piccoli .

this odd , poetic road movie , spiked by jolts of pop music , pretty much takes place in morton 's ever-watchful gaze -- and it 's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one .

as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film 's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .

as earnest as a community-college advertisement , american chai is enough to make you put away the guitar , sell the amp , and apply to medical school .

if you 're not , you 'll still have a good time . ''

moretti plays giovanni , a psychiatrist who predictably finds it difficult to sustain interest in his profession after the family tragedy .

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

although it lacks the detail of the book , the film does pack some serious suspense .

( cuarón has ) created a substantive movie out of several cliched movie structures : the road movie , the coming-of-age movie , and the teenage sex comedy .

and second , what 's with all the shooting ?

billy crystal and robert de niro sleepwalk through vulgarities in a sequel you can refuse .

shrewd but pointless .

the problems and characters it reveals are universal and involving , and the film itself -- as well its delightful cast -- is so breezy , pretty and gifted , it really won my heart .

proof once again that if the filmmakers just follow the books , they ca n't go wrong .

... wise and elegiac ...

though filmed partly in canada , paid in full has clever ways of capturing inner-city life during the reagan years .

well-meaning to a fault , antwone fisher manages the dubious feat of turning one man 's triumph of will into everyman 's romance comedy .

... creates a visceral sense of its characters ' lives and conflicted emotions that carries it far above ... what could have been a melodramatic , lifetime channel-style anthology .

not counting a few gross-out comedies i 've been trying to forget , this is the first film in a long time that made me want to bolt the theater in the first 10 minutes .

all of the elements are in place for a great film noir , but director george hickenlooper 's approach to the material is too upbeat .

the overall fabric is hypnotic , and mr. mattei fosters moments of spontaneous intimacy .

friday after next is a lot more bluster than bite .

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 .

opera on film is never satisfactory .

nicole holofcenter , the insightful writer\/director responsible for this illuminating comedy does n't wrap the proceedings up neatly but the ideas tie together beautifully .

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

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

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

loud , silly , stupid and pointless .

while it 's nothing we have n't seen before from murphy , i spy is still fun and enjoyable and so aggressively silly that it 's more than a worthwhile effort .

mctiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .

if you 're looking to rekindle the magic of the first film , you 'll need a stronger stomach than us .

an average b-movie with no aspirations to be anything more .

a film that plays things so nice 'n safe as to often play like a milquetoast movie of the week blown up for the big screen .

the movie straddles the fence between escapism and social commentary , and on both sides it falls short .

only masochistic moviegoers need apply .

is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?

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 .