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it 's light on the chills and heavy on the atmospheric weirdness , and there are moments of jaw-droppingly odd behavior -- yet i found it weirdly appealing .

the first tunisian film i have ever seen , and it 's also probably the most good-hearted yet sensual entertainment i 'm likely to see all year .

yo , it 's the days of our lives meets electric boogaloo .

anybody who enjoys quirky , fun , popcorn movies with a touch of silliness and a little bloodshed .

as the dominant christine , sylvie testud is icily brilliant .

the makers of mothman prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad .

( a ) devastatingly powerful and astonishingly vivid holocaust drama .

dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .

die another day is only intermittently entertaining but it 's hard not to be a sucker for its charms , or perhaps it 's just impossible not to feel nostalgia for movies you grew up with .

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

( hayek ) throws herself into this dream hispanic role with a teeth-clenching gusto , she strikes a potent chemistry with molina and she gradually makes us believe she is kahlo .

the film 's needlessly opaque intro takes its doe-eyed crudup out of pre-9 \/ 11 new york and onto a cross-country road trip of the homeric kind .

there are things to like about murder by numbers -- but , in the end , the disparate elements do n't gel .

the biggest problem with satin rouge is lilia herself .

the thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes ( of which they 'll get plenty ) fills me with revulsion .

captivates and shows how a skillful filmmaker can impart a message without bludgeoning the audience over the head .

jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar .

contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .

one suspects that craven endorses they simply because this movie makes his own look much better by comparison .

the film 's final hour , where nearly all the previous unseen material resides , is unconvincing soap opera that tornatore was right to cut .

like its bizarre heroine , it irrigates our souls .

to be more engaging on an emotional level , funnier , and on the whole less detached .

savvy director robert j. siegel and his co-writers keep the story subtle and us in suspense .

puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .

... best seen as speculative history , as much an exploration of the paranoid impulse as a creative sequel to the warren report .

the appeal of the vulgar , sexist , racist humour went over my head or -- considering just how low brow it is -- perhaps it snuck under my feet .

has the disjointed feel of a bunch of strung-together tv episodes .

while broomfield 's film does n't capture the effect of these tragic deaths on hip-hop culture , it succeeds as a powerful look at a failure of our justice system .

some movies blend together as they become distant memories .

what ` dumb and dumber ' would have been without the vulgarity and with an intelligent , life-affirming script .

completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .

... a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll .

a treat for its depiction on not giving up on dreams when you 're a struggling nobody .

what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between .

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

we do n't get paid enough to sit through crap like this .

feels like a cold old man going through the motions .

both an admirable reconstruction of terrible events , and a fitting memorial to the dead of that day , and of the thousands thereafter .

bravado kathy !

occasionally interesting but essentially unpersuasive , a footnote to a still evolving story .

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 .

it 's the movie equivalent of a sweaty old guy in a rain coat shopping for cheap porn .

execrable .

( seagal 's ) strenuous attempt at a change in expression could very well clinch him this year 's razzie .

thoroughly awful .

the production values are of the highest and the performances attractive without being memorable .

starts as a tart little lemon drop of a movie and ends up as a bitter pill .

entertaining despite its one-joke premise with the thesis that women from venus and men from mars can indeed get together .

despite besson 's high-profile name being wasabi 's big selling point , there is no doubt that krawczyk deserves a huge amount of the credit for the film 's thoroughly winning tone .

often lingers just as long on the irrelevant as on the engaging , which gradually turns what time is it there ?

a sensitive , moving , brilliantly constructed work .

perhaps the most annoying thing about who is cletis tout ?

not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .

a high-minded snoozer .

the wonderful combination of the sweetness and the extraordinary technical accomplishments of the first film are maintained , but its overall impact falls a little flat with a storyline that never quite delivers the original magic .

bring on the sequel .

judging by those standards , ` scratch ' is a pretty decent little documentary .

a movie like the guys is why film criticism can be considered work .

pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .

although tender and touching , the movie would have benefited from a little more dramatic tension and some more editing .

an often watchable , though goofy and lurid , blast of a costume drama set in the late 15th century .

check your brain and your secret agent decoder ring at the door because you do n't want to think too much about what 's going on .

a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili .

as saccharine as it is disposable .

the film becomes an overwhelming pleasure , and you find yourself rooting for gai 's character to avoid the fate that has befallen every other carmen before her .

matters play out realistically if not always fairly .

as lively an account as seinfeld is deadpan .

it may not be a great piece of filmmaking , but its power comes from its soul 's - eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case .

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 .

is clever enough , though thin writing proves its undoing .

contains all the substance of a twinkie -- easy to swallow , but scarcely nourishing .

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

ver wiel 's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless .

instead of hitting the audience over the head with a moral , schrader relies on subtle ironies and visual devices to convey point of view .

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

a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .

a much more successful translation than its most famous previous film adaptation , writer-director anthony friedman 's similarly updated 1970 british production .

hugh grant 's act is so consuming that sometimes it 's difficult to tell who the other actors in the movie are .

mendes still does n't quite know how to fill a frame .

but darned if it does n't also keep us riveted to our seats .

such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .

the message is that even the most unlikely can link together to conquer all kinds of obstacles , whether they be of nature , of man or of one another .

if you do n't laugh , flee .

there 's too much forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present .

to call this film a lump of coal would only be to flatter it .

all of the filmmakers ' calculations ca n't rescue brown sugar from the curse of blandness .

intriguing and stylish .

a few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed , but skeptics are n't likely to enter the theater .

mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .

it should be interesting , it should be poignant , it turns out to be affected and boring .

the film has too many spots where it 's on slippery footing , but is acceptable entertainment for the entire family and one that 's especially fit for the kiddies .

when it 's not wallowing in hormonal melodrama , `` real women have curves '' is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams .

that death is merely a transition is a common tenet in the world 's religions .

but you 'd never guess that from the performances .

cold , nervy and memorable .

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

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

you can practically hear george orwell turning over .

helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .

passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly ...