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statham employs an accent that i think is supposed to be an attempt at hardass american but sometimes just lapses into unhidden british .

a yawn-provoking little farm melodrama .

whereas the extremely competent hitman films such as pulp fiction and get shorty resonate a sardonic verve to their caustic purpose for existing , who is cletis tout ?

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 .

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

one of the greatest films i 've ever seen .

feels strangely hollow at its emotional core .

watching spirited away is like watching an eastern imagination explode .

it gets old quickly .

feels less like a change in ( herzog 's ) personal policy than a half-hearted fluke .

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 .

like a poor man 's you can count on me

exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .

good performances keep it from being a total rehash .

tsai convincingly paints a specifically urban sense of disassociation here .

he thinks the film is just as much a document about him as it is about the subject .

an uplifting , largely bogus story .

a canny , derivative , wildly gruesome portrait of a london sociopath who 's the scariest of sadists .

it all starts to smack of a hallmark hall of fame , with a few four letter words thrown in that are generally not heard on television .

some body will take you places you have n't been , and also places you have .

while van wilder may not be the worst national lampoon film , it 's far from being this generation 's animal house .

hollywood ending just is n't very funny .

a jaw-droppingly beautiful work that upends nearly every cliché of japanese animation while delivering a more than satisfactory amount of carnage .

but kouyate elicits strong performances from his cast , and he delivers a powerful commentary on how governments lie , no matter who runs them .

` drumline ' shows a level of young , black manhood that is funny , touching , smart and complicated .

upper teens may get cynical .

it is so earnest , so overwrought and so wildly implausible that it begs to be parodied .

a flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds .

you have enough finely tuned acting to compensate for the movie 's failings .

the movie obviously seeks to re-create the excitement of such '50s flicks as jules verne 's ' 20,000 leagues under the sea ' and the george pal version of h.g. wells ' ` the time machine . '

i ca n't remember the last time i saw an audience laugh so much during a movie , but there 's only one problem ... it 's supposed to be a drama .

welles groupie\/scholar peter bogdanovich took a long time to do it , but he 's finally provided his own broadside at publishing giant william randolph hearst .

the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no. 1 drips with style and , at times , blood .

it might not be 1970s animation , but everything else about it is straight from the saturday morning cartoons -- a retread story , bad writing , and the same old silliness .

birthday girl lucks out with chaplin and kidman , who are capable of anteing up some movie star charisma when they need it to sell us on this twisted love story , but who can also negotiate the movie 's darker turns .

stay for the credits and see a devastating comic impersonation by dustin hoffman that is revelatory .

one gets the impression the creators of do n't ask do n't tell laughed a hell of a lot at their own jokes .

it is a likable story , told with competence .

a gushy episode of `` m \* a \* s \* h '' only this time from an asian perspective .

bread , my sweet has so many flaws it would be easy for critics to shred it .

i believe silberling had the best intentions here , but he just does n't have the restraint to fully realize them .

the philosophical musings of the dialogue jar against the tawdry soap opera antics of the film 's action in a way that is surprisingly enjoyable .

some people want the ol' ball-and-chain and then there are those who just want the ball and chain .

a delightful romantic comedy with plenty of bite .

you 'll forget about it by monday , though , and if they 're old enough to have developed some taste , so will your kids .

a good thriller .

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

it 's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .

rumor , a muddled drama about coming to terms with death , feels impersonal , almost generic .

works on the whodunit level as its larger themes get lost in the murk of its own making

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

while not for every taste , this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy .

the movie is not as terrible as the synergistic impulse that created it .

the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .

it 's all pretty tame .

it 's petty thievery like this that puts flimsy flicks like this behind bars

... an adorably whimsical comedy that deserves more than a passing twinkle .

with or without ballast tanks , k-19 sinks to a harrison ford low .

mr. koshashvili is a director to watch .

about as big a crowdpleaser as they possibly come .

but on the whole , you 're gonna like this movie .

we can tell what it is supposed to be , but ca n't really call it a work of art .

the art direction and costumes are gorgeous and finely detailed , and kurys ' direction is clever and insightful .

there 's a bit of thematic meat on the bones of queen of the damned , as its origins in an anne rice novel dictate , but generally , it 's a movie that emphasizes style over character and substance .

the film is delicately narrated by martin landau and directed with sensitivity and skill by dana janklowicz-mann .

the sequel is everything the original was not : contrived , overblown and tie-in ready .

but , for that , why not watch a documentary ?

sad nonsense , this .

every note rings false .

the evocative imagery and gentle , lapping rhythms of this film are infectious -- it gets under our skin and draws us in long before the plot kicks into gear .

succeeds as a well-made evocation of a subculture .

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 .

an immensely entertaining look at some of the unsung heroes of 20th century pop music .

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 .

howard conjures the past via surrealist flourishes so overwrought you 'd swear he just stepped out of a buñuel retrospective .

eisenstein lacks considerable brio for a film about one of cinema 's directorial giants .

it 's difficult to discern if this is a crazy work of disturbed genius or merely 90 minutes of post-adolescent electra rebellion .

even if you do n't know the band or the album 's songs by heart , you will enjoy seeing how both evolve , and you will also learn a good deal about the state of the music business in the 21st century .

inherently caustic and oddly whimsical , the film chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss .

like being able to hit on a 15-year old when you 're over 100 .

it 's better than the phantom menace .

an effortlessly accomplished and richly resonant work .

broomfield is energized by volletta wallace 's maternal fury , her fearlessness , and because of that , his film crackles .

a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries .

davis has energy , but she does n't bother to make her heroine 's book sound convincing , the gender-war ideas original , or the comic scenes fly .

the images are usually abbreviated in favor of mushy obviousness and telegraphed pathos , particularly where whitaker 's misfit artist is concerned .

this kind of hands-on storytelling is ultimately what makes shanghai ghetto move beyond a good , dry , reliable textbook and what allows it to rank with its worthy predecessors .

formulaic to the 51st power , more like .

when your subject is illusion versus reality , should n't the reality seem at least passably real ?

a preposterously melodramatic paean to gang-member teens in brooklyn circa 1958 .

eckstraordinarily lame and severely boring .

the results are far more alienating than involving .

these characters become wearisome .

it finds its moviegoing pleasures in the tiny events that could make a person who has lived her life half-asleep suddenly wake up and take notice .

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

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

comes across as a relic from a bygone era , and its convolutions ... feel silly rather than plausible .

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

the story is bogus and its characters tissue-thin .

this is a nervy , risky film , and villeneuve has inspired croze to give herself over completely to the tormented persona of bibi .