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i don't think this movie loves women at all .

short and sweet , but also more than anything else slight tadpole pulls back from the consequences of its own actions and revelations .

i can't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops .

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

the twist that ends the movie is the one with the most emotional resonance , but twists are getting irritating , and this is the kind of material where the filmmakers should be very careful about raising eyebrows .

the words , 'frankly , my dear , i don't give a damn , ' have never been more appropriate .

considering the harsh locations and demanding stunts , this must have been a difficult shoot , but the movie proves rough going for the audience as well .

well made but uninvolving , bloodwork isn't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery .

feels aimless for much of its running time , until late in the film when a tidal wave of plot arrives , leaving questions in its wake .

blessed with immense physical prowess he may well be , but ahola is simply not an actor . and in truth , cruel as it may sound , he makes arnold schwarzenegger look like spencer tracy .

it all plays out . . . like a high-end john hughes comedy , a kind of elder bueller's time out .

a determined , ennui-hobbled slog that really doesn't have much to say beyond the news flash that loneliness can make people act weird .

for those in search of something different , wendigo is a genuinely bone-chilling tale .

raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings .

this is one of mr . chabrol's subtlest works , but also one of his most uncanny .

because eight legged freaks is partly an homage to them , tarantula and other low- budget b-movie thrillers of the 1950s and '60s , the movie is a silly ( but not sophomoric ) romp through horror and hellish conditions .

certainly beautiful to look at , but its not very informative about its titular character and no more challenging than your average television biopic .

despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy .

by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre .

disney again ransacks its archives for a quick-buck sequel .

it's a great american adventure and a wonderful film to bring to imax .

. . . a b-movie-and-proud-of-it thrill ride , probably the best of its kind since tremors .

the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed .

bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made . it's a movie that accomplishes so much that one viewing can't possibly be enough .

son of the bride is slight fare , but it does have it poignancies , and it is well-acted and sweet without being cloying .

the idea of 49-year-old roberto benigni playing the wooden boy pinocchio is scary enough . the reality of the new live-action pinocchio he directed , cowrote and starred in borders on the grotesque .

a depressingly retrograde , 'post-feminist' romantic comedy that takes an astonishingly condescending attitude toward women .

neighbor's dog operates at a consistent chuckle pitch that frequently gives way to guffaws .

slow and ponderous , but rohmer's drama builds to an intense indoor drama about compassion , sacrifice , and christian love in the face of political corruption .

those who want to be jolted out of their gourd should drop everything and run to ichi .

. . . only bond can save us from the latest eccentric , super-wealthy megalomaniac bent on world domination and destruction .

a raw comedy that is intermittently hilarious as it attacks pretty much every taboo around .

bursting through the constraints of its source , this is one adapted- from-television movie that actually looks as if it belongs on the big screen .

scotland , pa . is a strangely drab romp . some studio pizazz might have helped .

audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but otherwise the production is suitably elegant .

according to wendigo , 'nature' loves the members of the upper class almost as much as they love themselves .

the filmmaker ascends , literally , to the olympus of the art world , but he would have done well to end this flawed , dazzling series with the raising of something other than his own cremaster .

a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature .

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

despite impeccable acting . . . and a script that takes some rather unexpected ( even , at times , preposterous ) turns , love is just too , too precious in the end .

haynes has so fanatically fetishized every bizarre old-movie idiosyncrasy with such monastic devotion you're not sure if you should applaud or look into having him committed .

a delicate balance of nostalgia and contemporary themes win out over scripting pregnant with cinematic schmaltz .

proof that a newcomer indie filmmaker can infuse some new life into the downtrodden loser character study .

curling may be a unique sport but men with brooms is distinctly ordinary .

even when he's not at his most critically insightful , godard can still be smarter than any 50 other filmmakers still at work .

sacrifices the value of its wealth of archival foot-age with its less-than-objective stance .

the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible !

soderbergh skims the fat from the 1972 film . what's left is a rich stew of longing .

a hypnotic cyber hymn and a cruel story of youth culture .

director oliver parker labors so hard to whip life into the importance of being earnest that he probably pulled a muscle or two .

thirty years ago , it would have been groundbreaking . now it's just tired .

gibney and jarecki just want to string the bastard up .

there are now two signs that m . night shyamalan's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .

others , more attuned to the anarchist maxim that 'the urge to destroy is also a creative urge' , or more willing to see with their own eyes , will find morrison's iconoclastic uses of technology to be liberating .

nemesis has a delightfully nasty villain and pumped-up action , albeit along familiar lines .

a sweet , engaging family story about the nature of faith and the power of youthful innocence .

it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .

yes , it's as good as you remember . in fact , even better .

take a friend ( invisible or real ) to see this one . . . it's laugh out loud funny

with each of her three protagonists , miller eloquently captures the moment when a woman's life , out of a deep-seated , emotional need , is about to turn onto a different path .

fancy a real downer ? [leigh] lays it on so thick this time that it feels like a suicide race .

a thoughtful , reverent portrait of what is essentially a subculture , with its own rules regarding love and family , governance and hierarchy .

well-intentioned though it may be , its soap-opera morality tales have the antiseptic , preprogrammed feel of an after-school special .

graced with the kind of social texture and realism that would be foreign in american teen comedies .

to be influenced chiefly by humanity's greatest shame , reality shows -- reality shows for god's sake ! -- is a crime that should be punishable by chainsaw .

it's not a classic spy-action or buddy movie , but it's entertaining enough and worth a look .

for all its bile and incoherence , in praise of love is filled with haunting images and insights . godard may be a lion in winter , but the lion still roars .

. . . fifty minutes of tedious adolescent melodramatics followed by thirty-five minutes of inflated nonsense .

[it's] a clever thriller with enough unexpected twists to keep our interest .

lacking gravitas , macdowell is a placeholder for grief , and ergo this sloppy drama is an empty vessel . leave these flowers unpicked -- they're dead on the vine .

i can't imagine adaptation having much mainstream appeal , but , for those who look for something genuinely off-the-wall in a motion picture , this will unquestionably strike a nerve .

. it's a testament to the film's considerable charm that it succeeds in entertaining , despite playing out like a feature-length sitcom replete with stereotypical familial quandaries . there's a sheer unbridled delight in the way the story unfurls . . .

a great cast and a wonderful but sometimes confusing flashback movie about growing up in a dysfunctional family .

thirteen conversations about one thing lays out a narrative puzzle that interweaves individual stories , and , like a mobius strip , elliptically loops back to where it began .

instead of making his own style , director marcus adams just copies from various sources Ц good sources , bad mixture

although it tries to be much more , it's really just another major league .

so mind-numbingly awful that you hope britney won't do it one more time , as far as movies are concerned .

the director , mark pellington , does a terrific job conjuring up a sinister , menacing atmosphere though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head .

another big , dumb action movie in the vein of xxx , the transporter is riddled with plot holes big enough for its titular hero to drive his sleek black bmw through .

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

the film is almost eerily calm and refuses to take sides . but that lets its insights penetrate all the deeper .

an endlessly fascinating , landmark movie that is as bold as anything the cinema has seen in years .

this isn't a good movie ; this isn't a bad movie . this is a movie that dispenses with the whole good/bad paradigm and exists on its own plane of reality .

everyone connected to this movie seems to be part of an insider clique , which tends to breed formulaic films rather than fresh ones .

it's a smart , funny look at an arcane area of popular culture , and if it isn't entirely persuasive , it does give exposure to some talented performers .

an interesting , if not entirely successful , biography of two extraordinary personalities .

`martin lawrence live' is so self-pitying , i almost expected there to be a collection taken for the comedian at the end of the show .

trapped presents a frightening and compelling 'what if ? ' scenario that will give most parents pause . . . . then , something terrible happens .

the film is a verbal duel between two gifted performers .

almost everything about the film is unsettling , from the preposterous hairpiece worn by lai's villainous father to the endless action sequences .

vincent gallo is right at home in this french shocker playing his usual bad boy weirdo role .

an overly melodramatic but somewhat insightful french coming-of-age film . . .

about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience's meat grinder one more time .

saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory .

. . . if you're just in the mood for a fun -- but bad -- movie , you might want to catch freaks as a matinee .

this is as respectful a film as byatt fans could hope for , though lovers of the book may wonder why it's necessary .

it's rare to find a film to which the adjective 'gentle' applies , but the word perfectly describes pauline & paulette .

a domestic melodrama with weak dialogue and biopic cliches .

shanghai ghetto may not be as dramatic as roman polanski's the pianist , but its compassionate spirit soars every bit as high .

though it's become almost redundant to say so , major kudos go to leigh for actually casting people who look working-class .