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static , repetitive , muddy and blurry , hey arnold ! would seem to have a lock on the title of ugliest movie of the year .

offers a fascinating look into the world of upper-echelon comics .

would make an excellent companion piece to the similarly themed 'the french lieutenant's woman . '

this movie in a single breath goes to the very heart of the russian experience .

one minute , you think you're watching a serious actioner ; the next , it's as though clips from the pink panther strikes again and/or sailor moon have been spliced in .

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

few films seem so wise and knowing about the fact of age and the approach of the end .

it's unnerving to see recoing's bizzarre reaction to his unemployment . good film , but very glum .

[soderbergh] tends to place most of the psychological and philosophical material in italics rather than trust an audience's intelligence , and he creates an overall sense of brusqueness .

vera's technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .

that the e-graveyard holds as many good ideas as bad is the cold comfort that chin's film serves up with style and empathy .

offers 102 minutes of breezy , occasionally very funny entertainment .

absurdities and clichйs accumulate like lint in a fat man's navel .

this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it .

a brain twister , less a movie-movie than a funny and weird meditation on hollywood , success , artistic integrity and intellectual bankruptcy .

the film's trailer also looked like crap , so crap is what i was expecting .

. . . although this idea is " new " the results are tired .

one of the most incoherent features in recent memory .

[javier bardem is] one of the few reasons to watch the film , which director gerardo vera has drenched in swoony music and fever-pitched melodrama .

a haunting film about one of the great escapes of all time .

beautiful , angry and sad , with a curious sick poetry , as if the marquis de sade had gone in for pastel landscapes .

it uses some of the figures from the real-life story to portray themselves in the film . the result is a powerful , naturally dramatic piece of low-budget filmmaking .

asia authors herself as anna battista , an italian superstar and aspiring directress who just happens to be her own worst enemy .

the film is way too full of itself ; it's stuffy and pretentious in a give-me-an-oscar kind of way .

this remake gets all there is to get out of a peculiar premise with promise : al pacino loathing robin williams .

can't kick about the assembled talent and the russos show genuine promise as comic filmmakers . still , this thing feels flimsy and ephemeral .

proves mainly that south korean filmmakers can make undemanding action movies with all the alacrity of their hollywood counterparts .

the film is so packed with subplots involving the various silbersteins that it feels more like the pilot episode of a tv series than a feature film .

comes off like a rejected abc afterschool special , freshened up by the dunce of a screenwriting 101 class . . . . designed to provide a mix of smiles and tears , " crossroads " instead provokes a handful of unintentional howlers and numerous yawns .

cedar takes a very open-minded approach to this sensitive material , showing impressive control , both visually and in the writing .

i can easily imagine benigni's pinocchio becoming a christmas perennial . coal isn't as easy to come by as it used to be and this would be a worthy substitute for naughty children's stockings .

although purportedly a study in modern alienation , it's really little more than a particularly slanted , gay s/m fantasy , enervating and deadeningly drawn-out .

there's plenty of style in guillermo del toro's sequel to the 1998 hit but why do we need 117 minutes to tell a tale that simply can't sustain more than 90 minutes .

tsai ming-liang's ghosts are painfully aware of their not-being .

the film serves as a valuable time capsule to remind us of the devastating horror suffered by an entire people .

several degrees shy of the gross-out contests one expects from current teen fare .

an atonal estrogen opera that demonizes feminism while gifting the most sympathetic male of the piece with a nice vomit bath at his wedding .

works as another uncompromisingly adult movie that assumes its audience is intelligent and doesn't have to cut narrative corners to make viewers feel safe .

andersson creates a world that's at once surreal and disturbingly familiar ; absurd , yet tremendously sad .

merchant effectively translates naipaul's lively mix of characters from the page to screen .

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

an enjoyably half-wit remake of the venerable italian comedy big deal on madonna street .

the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain .

the script by david koepp is perfectly serviceable and because he gives the story some soul . . . he elevates the experience to a more mythic level .

it's like an all-star salute to disney's cheesy commercialism .

the powerless wait a long time for justice , and sometimes their only justice is to finally tell their story .

hoffman's unfettered performance beautifully captures wilson's sad , manic quality .

the skills of a calculus major at m . i . t . are required to balance all the formulaic equations in the long-winded heist comedy who is cletis tout ?

definitely funny stuff , but it's more of the 'laughing at' variety than the 'laughing with . '

imamura's delight in the infinite oddity of men and women is goofy ; it's also , at heart , reverent .

one of [jaglom's] better efforts -- a wry and sometime bitter movie about love .

combines improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end , we are undeniably touched .

it's a fun movie with lots of colorful characters , lots of bizarre plot meanderings and quite a few memorable lines and sequences .

a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .

it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .

mindless yet impressively lean spinoff of last summer's bloated effects fest the mummy returns .

rock's got the kind of sly charm and non- self-conscious sincerity that could fit into any action hero archetype imaginable , even the old-school ones .

like mike isn't interested in recycling old cliches . it wants to tweak them with a taste of tangy new humor .

the real reason to see runteldat is to watch lawrence deploy his deep and wide powers of empathy to depict such diverse experiences as childbirth , breast-feeding and recovering from illness .

significant for the chilling moments when the children echo the very sentiments that continue to fuel the middle east conflict .

the entire movie is filled with deja vu moments .

no number of fantastic sets , extras , costumes and spectacular locales can disguise the emptiness at the center of the story .

claude chabrol has here a thriller without thrills , but that's okay .

even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .

terrific as nadia , a russian mail-order bride who comes to america speaking not a word of english , it's kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers .

if reno is to the left of liberal on the political spectrum , her tough , funny , rather chaotic show isn't subversive so much as it is nit-picky about the hypocrisies of our time .

despite juliet stevenon's attempt to bring cohesion to pamela's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .

even the finest chef can't make a hotdog into anything more than a hotdog , and robert de niro can't make this movie anything more than a trashy cop buddy comedy .

the cast has a high time , but de broca has little enthusiasm for such antique pulp .

windtalkers celebrates the human spirit and packs an emotional wallop .

those outside show business will enjoy a close look at people they don't really want to know .

it's enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins .

provides an intriguing look at how the new economy has redrawn class lines in contemporary china .

austin powers in goldmember is a cinematic car wreck , a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride .

what's the most positive thing that can be said about the new rob schneider vehicle ? well , it's not as pathetic as the animal .

it's that rare family movie -- genuine and sweet without relying on animation or dumb humor .

while not as aggressively impressive as its american counterpart , " in the bedroom , " moretti's film makes its own , quieter observations

kids surely will like it . and for adults , it's perfectly watchable in a rugrats-y sort of way .

a canny franchise escapade ; it gets the job done .

bogdanovich taps deep into the hearst mystique , entertainingly reenacting a historic scandal .

the second coming of harry potter is a film far superior to its predecessor . a movie that successfully crushes a best selling novel into a timeframe that mandates that you avoid the godzilla sized soda .

hardly a masterpiece , but it introduces viewers to a good charitable enterprise and some interesting real people .

if there was any doubt that peter o'fallon didn't have an original bone in his body , a rumor of angels should dispel it .

. . . while each moment of this broken character study is rich in emotional texture , the journey doesn't really go anywhere .

a hilarious film for anyone who remembers lying as a kid -- and anyone who wants to see a movie that's just plain fun .

with its lackadaisical plotting and mindless action , all about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .

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

such a good-looking picture deserved to have more depth and unpredictability in its story . but it does stand out as a personal and unique entry in a time-worn genre , and that may be good enough .

not a cozy or ingratiating work , but it's challenging , sometimes clever , and always interesting , and those are reasons enough to see it .

k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia .

chilling in its objective portrait of dreary , lost twenty-first century america .

a spiritual exploration of sorts , offering a message of hope that resonates .

a good-natured ensemble comedy that tries hard to make the most of a bumper cast , but never quite gets off the ground .

we started to wonder if some unpaid intern had just typed 'chris rock , ' 'anthony hopkins' and 'terrorists' into some univac-like script machine .

goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .

this is a film living far too much in its own head .

while the now 72-year-old robert evans been slowed down by a stroke , he has at least one more story to tell : his own .

it has that rare quality of being able to creep the living hell out of you . . .

a well-made and often lovely depiction of the mysteries of friendship .

[jaglom] creates an engaging insider's world of enthusiastically entertaining characters and absorbing situations .