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eric schweig and graham greene both exude an air of dignity that 's perfect for the proud warrior that still lingers in the souls of these characters .

what jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery

there is n't one moment in the film that surprises or delights .

supposedly based upon real , or at least soberly reported incidents , the film ends with a large human tragedy .

spiderman rocks

the plot is plastered with one hollywood cliche after another , most of which involve precocious kids getting the better of obnoxious adults .

astonishing is n't the word -- neither is incompetent , incoherent or just plain crap .

you might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .

unfortunately , a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .

kids five and up will be delighted with the fast , funny , and even touching story .

still , the updated dickensian sensibility of writer craig bartlett 's story is appealing .

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

he watches them as they float within the seas of their personalities .

hard as this may be to believe , here on earth , a surprisingly similar teen drama , was a better film .

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

this charming , thought-provoking new york fest of life and love has its rewards .

cube 's charisma and chemistry compensate for corniness and cliche .

a full-frontal attack on audience patience .

... less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .

tony gayton 's script does n't give us anything we have n't seen before , but director d.j. caruso 's grimy visual veneer and kilmer 's absorbing performance increase the gravitational pull considerably .

this long and relentlessly saccharine film is a clear case of preaching to the converted .

the film is old-fashioned , occasionally charming and as subtle as boldface .

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

an entertaining mix of period drama and flat-out farce that should please history fans .

a very well-meaning movie , and it will stand in future years as an eloquent memorial to the world trade center tragedy .

we get an image of big papa spanning history , rather than suspending it .

it 's pretty linear and only makeup-deep , but bogdanovich ties it together with efficiency and an affection for the period .

adaptation is simply brilliant .

a thought-provoking picture .

but arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .

director charles stone iii applies more detail to the film 's music than to the story line ; what 's best about drumline is its energy .

presents nothing special and , until the final act , nothing overtly disagreeable .

williams plays sy , another of his open-faced , smiling madmen , like the killer in insomnia .

... its stupidities wind up sticking in one 's mind a lot more than the cool bits .

turturro is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing\/reappearing acts

from beginning to end , this overheated melodrama plays like a student film .

director yu seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times .

average , at best , i 'm afraid .

this is a superior horror flick .

the cast delivers without sham the raw-nerved story .

all in all , it 's a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own .

yet another self-consciously overwritten story about a rag-tag bunch of would-be characters that team up for a ca n't - miss heist -- only to have it all go wrong .

it 's got all the familiar bruckheimer elements , and schumacher does probably as good a job as anyone at bringing off the hopkins\/rock collision of acting styles and onscreen personas .

i felt trapped and with no obvious escape for the entire 100 minutes .

although i did n't hate this one , it 's not very good either .

cattaneo reworks the formula that made the full monty a smashing success ... but neglects to add the magic that made it all work .

a moving and not infrequently breathtaking film .

while the plot follows a predictable connect-the-dots course ... director john schultz colors the picture in some evocative shades .

anemic , pretentious .

i know we 're not supposed to take it seriously , but i ca n't shake the thought that undercover brother missed an opportunity to strongly present some profound social commentary .

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

wiseman reveals the victims of domestic abuse in all of their pity and terror .

light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically .

one of those unassuming films that sneaks up on you and stays with you long after you have left the theatre .

to work , love stories require the full emotional involvement and support of a viewer .

trailer park magnolia : too long , too cutesy , too sure of its own importance , and possessed of that peculiar tension of being too dense & about nothing at all .

all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .

a work that lacks both a purpose and a strong pulse .

very well made , but does n't generate a lot of tension .

a moving , if uneven , success .

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

( a ) real pleasure in its laid-back way .

what is the filmmakers ' point ?

trades run-of-the-mill revulsion for extreme unease .

feels like pieces a bunch of other , better movies slapped together .

reeks of rot and hack work from start to finish .

has all the hallmarks of a movie designed strictly for children 's home video , a market so insatiable it absorbs all manner of lame entertainment , as long as 3-year-olds find it diverting .

... too contrived to be as naturally charming as it needs to be .

... in no way original , or even all that memorable , but as downtown saturday matinee brain candy , it does n't disappoint .

the 50-something lovebirds are too immature and unappealing to care about .

after a while , the only way for a reasonably intelligent person to get through the country bears is to ponder how a whole segment of pop-music history has been allowed to get wet , fuzzy and sticky .

a lot of fun , with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers .

a breathtaking adventure for all ages , spirit tells its poignant and uplifting story in a stunning fusion of music and images .

this is a nicely handled affair , a film about human darkness but etched with a light ( yet unsentimental ) touch .

a bland animated sequel that hardly seems worth the effort .

unspeakable , of course , barely begins to describe the plot and its complications .

a limp eddie murphy vehicle that even he seems embarrassed to be part of .

the film sparkles with the the wisdom and humor of its subjects .

though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama .

it 's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts .

in auteil 's less dramatic but equally incisive performance , he 's a charismatic charmer likely to seduce and conquer .

when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , ` hey , kool-aid ! '

how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?

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

this is a movie that refreshes the mind and spirit along with the body , so original is its content , look , and style .

a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .

handsome and sincere but slightly awkward in its combination of entertainment and evangelical boosterism .

` if you are in the mood for an intelligent weepy , it can easily worm its way into your heart . '

who knows , but it works under the direction of kevin reynolds .

at its best ( and it does have some very funny sequences ) looking for leonard reminds you just how comically subversive silence can be .

it 's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah .

at its best ... festival in cannes bubbles with the excitement of the festival in cannes .

lacking substance and soul , crossroads comes up shorter than britney 's cutoffs .

simple , poignant and leavened with humor , it 's a film that affirms the nourishing aspects of love and companionship .

at times , the movie looks genuinely pretty .

a deliberative account of a lifestyle characterized by its surface-obsession -- one that typifies the delirium of post , pre , and extant stardom .

this is surely one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio .

i simply ca n't recommend it enough .

it 's a glorified sitcom , and a long , unfunny one at that .

anyone who 's ever suffered under a martinet music instructor has no doubt fantasized about what an unhappy , repressed and twisted personal life their tormentor deserved .