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this thing works on no level whatsoever for me .

a working class " us vs . them " opera that leaves no heartstring untugged and no liberal cause unplundered .

if you're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you -Ц decasia

pipe dream does have its charms . the leads are natural and lovely , the pace is serene , the humor wry and sprightly .

a photographic marvel of sorts , and it's certainly an invaluable record of that special fishy community .

after an uncertain start , murder hits and generally sustains a higher plateau with bullock's memorable first interrogation of gosling .

the trick when watching godard is to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them .

for a debut film , skin of man , heart of beast feels unusually assured .

murder by numbers is like a couple of mediocre tv-movie -of-the-week films clumsily stuck together .

together [time out and human resources] establish mr . cantet as france's foremost cinematic poet of the workplace .

responsбvel direto pelo fracasso 'artнstico' de doce lar , o roteirista c . jay cox nгo consegue sequer aproveitar os pouquнssimos momentos em que escapa da mediocridade .

boy , has this franchise ever run out of gas .

[reno] may have a few grating gaps in logic and feels as if a good chunk of its story ended up on the cutting room floor , but there is just enough charm and humor peppered throughout to make it feel as if it wasn't a complete waste of time to sit through .

elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .

little is done to support the premise other than fling gags at it to see which ones shtick .

soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable .

this is historical filmmaking without the balm of right-thinking ideology , either liberal or conservative . mr . scorsese's bravery and integrity in advancing this vision can hardly be underestimated .

absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way .

sunshine state is sayles at his most robert altman-ish , purposefully juggling about a dozen narrative balls in the air , and letting the mundanity and smallish drama of everyday life tell a larger story .

this sort of cute and cloying material is far from zhang's forte and it shows .

a superfluous sequel . . . plagued by that old familiar feeling of 'let's get this thing over with' : everyone has shown up at the appointed time and place , but visible enthusiasm is mighty hard to find .

mostly honest , this somber picture reveals itself slowly , intelligently , artfully .

a generation x artifact , capturing a brief era of insanity in the sports arena that surely cannot last .

the best way to hope for any chance of enjoying this film is by lowering your expectations . then lower them a bit more .

you're not merely watching history , you're engulfed by it .

unspools like a highbrow , low-key , 102-minute infomercial , blending entrepreneurial zeal with the testimony of satisfied customers .

it may sound like a mere disease-of- the-week tv movie , but a song for martin is made infinitely more wrenching by the performances of real-life spouses seldahl and wollter .

a movie in which two not very absorbing characters are engaged in a romance you can't wait to see end .

. . . a poignant and powerful narrative that reveals that reading writing and arithmetic are not the only subjects to learn in life .

the movie understands like few others how the depth and breadth of emotional intimacy give the physical act all of its meaning and most of its pleasure .

the film is grossly contradictory in conveying its social message , if indeed there is one .

a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard's pyromania .

both stars manage to be funny , but , like the recent i spy , the star chemistry begs the question of whether random gags add up to a movie .

you have to pay attention to follow all the stories , but they're each interesting . the movie is well shot and very tragic , and one to ponder after the credits roll .

ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis .

the locale . . . remains far more interesting than the story at hand .

pretension , in its own way , is a form of bravery . for this reason and this reason only -- the power of its own steadfast , hoity-toity convictions -- chelsea walls deserves a medal .

brings a rare , clinically specific sense of moral complexity and humanistic sympathy to the usual regimen of finger-pointing and exposure .

now as a former gong show addict , i'll admit it , my only complaint is that we didn't get more re-creations of all those famous moments from the show .

your stomach for heaven depends largely on your appetite for canned corn .

the talents of the actors helps " moonlight mile " rise above its heart-on-its-sleeve writing .

some body often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .

like shrek , spirit's visual imagination reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world .

colorful and deceptively buoyant until it suddenly pulls the rug out from under you , burkinabe filmmaker dani kouyate's reworking of a folk story whose roots go back to 7th-century oral traditions is also a pointed political allegory .

nobody seems to have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release .

just isn't as weird as it ought to be .

by candidly detailing the politics involved in the creation of an extraordinary piece of music , [jones] calls our attention to the inherent conflict between commerce and creativity .

this movie seems to have been written using mad-libs . there can be no other explanation . hilariously inept and ridiculous .

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

moretti . . . is the rare common-man artist who's wise enough to recognize that there are few things in this world more complex -- and , as it turns out , more fragile -- than happiness .

this is snappy , frothy screwball comedy awash in french understatement .

seeing as the film lacks momentum and its position remains mostly undeterminable , the director's experiment is a successful one .

i'm sure if you're a hartley fan , you might enjoy yourself . . . me , i didn't care for it .

beautifully written and directed and packed with excellent performances .

whether seen on a 10-inch television screen or at your local multiplex , the edge-of-your-seat , educational antics of steve irwin are priceless entertainment .

this may not be great moviemaking . . . but it's vastly enjoyable in a low-down , scandal-mongering way .

this is almodovar's stab at serious drama , and the result is bizarre and affecting but also unsettling in ways that the filmmaker may not have intended .

thekids will probably stay amused at the kaleidoscope of big , colorful characters . mom and dad can catch some quality naptime along the way .

the storylines are woven together skilfully , the magnificent swooping aerial shots are breathtaking , and the overall experience is awesome .

a thinly veiled excuse for wilson to play his self-deprecating act against murphy's well-honed prima donna shtick .

director robert rodriguez has once again caught lightning in a bottle .

try as you might to resist , if you've got a place in your heart for smokey robinson , this movie will worm its way there .

there's something fishy about a seasonal holiday kids' movie . . . that derives its moment of most convincing emotional gravity from a scene where santa gives gifts to grownups .

some remarkable achival film about how shanghai ( of all places ) served jews who escaped the holocaust .

an entertaining but unspectacular film . pretty goofy at times - but the slick and gleefully self-indulgent violence will not disappoint the action fan .

the film , while not exactly assured in its execution , is notable for its sheer audacity and openness .

. . . could easily be called the best korean film of 2002 .

while the finished product is still fun , never dull and the athletes themselves remarkable , inspired and apt , the production could have been improved .

there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

there's no real reason to see it , and no real reason not to .

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

at once subtle and visceral , the film never succumbs to the trap of the maudlin or tearful , offering instead with its unflinching gaze a measure of faith in the future .

a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you're going to alter the bard's ending , you'd better have a good alternative .

broomfield reveals an ironic manifestation of institutionalized slavery that ties a black-owned record label with a white-empowered police force .

on balance , i recommend the movie both for nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life , but rarely see on screen .

if you keep a list of films you want to see one way or another , you would be doing yourself a service by keeping this film high up on that list .

it doesn't do a lot of deep thinking , but unlike many futuristic combos of sf and f/x , it does make a statement : freedom of opinion is a threat to totalitarian systems .

like edward norton in american history x , ryan gosling ( murder by numbers ) delivers a magnetic performance .

nair's attention to detail creates an impeccable sense of place , while thurman and lewis give what can easily be considered career-best performances .

the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .

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

the talented and clever robert rodriguez perhaps put a little too much heart into his first film and didn't reserve enough for his second .

tartakovsky's team has some freakish powers of visual charm , but the five writers slip into the modern rut of narrative banality .

the film boasts dry humor and jarring shocks , plus moments of breathtaking mystery .

you will emerge with a clearer view of how the gears of justice grind on and the death report comes to share airtime alongside the farm report .

interesting both as a historical study and as a tragic love story .

its salient points are simultaneously buried , drowned and smothered in the excesses of writer-director roger avary .

the emotional overload of female angst irreparably drags the film down .

a lot rides on coincidence . or fate . or the magic pull of the moon . it all makes sense in the end .

i thought my own watch had stopped keeping time as i slogged my way through clockstoppers .

it challenges , this nervy oddity , like modern art should .

an amusing , breezily apolitical documentary about life on the campaign trail .

there's not enough here to justify the almost two hours .

reeks of rot and hack work from start to finish .

lillard and cardellini earn their scooby snacks , but not anyone else .

an inept , tedious spoof of '70s kung fu pictures , it contains almost enough chuckles for a three-minute sketch , and no more .

you know you're in for a good ol' popcorn-munching time when the movie's tagline is a bad pun on the title of a piece of fine literature .

an engaging and specific portrait of a culture in transition , even as it evokes humanity's most universal and timeless values .

if this is the danish idea of a good time , prospective tourists might want to consider a different destination -- some jolly country embroiled in a bloody civil war , perhaps .

i have a confession to make : i didn't particularly like e . t . the first time i saw it as a young boy . that is because - damn it ! - i also wanted a little alien as a friend !