Datasets:

KaiLv

/

UDR_Subj

like 0

the woods haven't been this creepy since the blair witch project .

accuracy and realism are terrific , but if your film becomes boring , and your dialogue isn't smart , then you need to use more poetic license .

the dramatic scenes are frequently unintentionally funny , and the action sequences -- clearly the main event -- are surprisingly uninvolving .

film can't quite maintain its initial momentum , but remains sporadically funny throughout .

the soundtrack alone -- the literal pulse of the thing -- will rock you in your seat .

the production values are up there . the use of cgi and digital ink-and-paint make the thing look really slick . the voices are fine as well . the problem , it is with most of these things , is the script .

while the film really doesn't have anything new to say , it's still thoughtful and well-crafted .

moore's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that's still very much playing itself out .

it's a shame that the storyline and its underlying themes . . . finally seem so impersonal or even shallow .

one of the best films of the year with its exploration of the obstacles to happiness faced by five contemporary individuals . . . a psychological masterpiece .

sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments .

as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner .

both grant and hoult carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .

less funny than it should be and less funny than it thinks it is .

the problem , amazingly enough , is the screenplay .

although commentary on nachtwey is provided . . . it's the image that really tells the tale .

" the quiet american " begins in saigon in 1952 . that's its first sign of trouble .

it wants to be thought of as a subversive little indie film , but it has all the qualities of a modern situation comedy .

this nickleby thing might have more homosexual undertones than an eddie murphy film . and just when you think it can't get any more gay , in pops nathan lane .

surprisingly , considering that baird is a former film editor , the movie is rather choppy .

fails to satisfactorily exploit its gender politics , genre thrills or inherent humor .

for the first time in years , de niro digs deep emotionally , perhaps because he's been stirred by the powerful work of his co-stars .

the touch is generally light enough and the performances , for the most part , credible .

the connected stories of breitbart and hanussen are actually fascinating , but the filmmaking in invincible is such that the movie does not do them justice .

all ends well , sort of , but the frenzied comic moments never click .

an effective portrait of a life in stasis -- of the power of inertia to arrest development in a dead-end existence .

rife with the rueful , wry humor springing out of yiddish culture and language .

worth watching for dong jie's performance -- and for the way it documents a culture in the throes of rapid change .

some body smacks of exhibitionism more than it does cathartic truth telling .

it tries too hard , and overreaches the logic of its own world .

a little objectivity could have gone a long way .

we never truly come to care about the main characters and whether or not they'll wind up together , and michele's spiritual quest is neither amusing nor dramatic enough to sustain interest .

the pace of the film is very slow ( for obvious reasons ) and that too becomes off-putting .

speaks eloquently about the symbiotic relationship between art and life .

the film tries too hard to be funny and tries too hard to be hip . the end result is a film that's neither .

the obligatory break-ups and hook-ups don't seem to have much emotional impact on the characters .

gangs of new york is an unapologetic mess , whose only saving grace is that it ends by blowing just about everything up .

good , -- * interviews with dp neihouse and astronaut susan helms *

evokes a palpable sense of disconnection , made all the more poignant by the incessant use of cell phones .

the movie would seem less of a trifle if ms . sugarman followed through on her defiance of the saccharine .

often self-consciously surreal , this award-winner scores high for originality .

were dylan thomas alive to witness first-time director ethan hawke's strained chelsea walls , he might have been tempted to change his landmark poem to , 'do not go gentle into that good theatre . '

harmless entertainment for kids and just smart enough to appeal to parents .

. . . too sappy for its own good .

no , the dangerous lives of altar boys does not exist in a state of perfect grace . however , its sins are forgivably venial , because its virtues are palpably human .

the special effects and cgi , uneven in sorcerer's stone , are all spit-shine and shoe-polish in chamber of secrets . there isn't one hair out of place .

my wife is an actress is an utterly charming french comedy that feels so american in sensibility and style it's virtually its own hollywood remake .

chalk it up as the worst kind of hubristic folly .

the movie wavers between hallmark card sentimentality and goofy , life-affirming moments straight out of a cellular phone commercial .

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 .

consider the title's clunk-on-the-head that suggests the overtime someone put in to come up with an irritatingly unimaginative retread concept .

it kinda works and qualifies as cool at times , but is just too lame to work or be cool at others .

the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .

this is a labor of love , and while it may not be slick , it is an endearing look at one man's selflessness and one team's determination .

she may not be real , but the laughs are .

even if the ring has a familiar ring , it's still unusually crafty and intelligent for hollywood horror .

like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .

i was amused and entertained by the unfolding of bielinsky's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .

cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude . it makes sense that he went back to school to check out the girls -- his film is a frat boy's idea of a good time .

it's not too fast and not too slow . it's not too racy and it's not too offensive . it's not too much of anything .

too bland and fustily tasteful to be truly prurient .

the director's twitchy sketchbook style and adroit perspective shifts grow wearisome amid leaden pacing and indifferent craftsmanship ( most notably wretched sound design ) .

for those who like quirky , slightly strange french films , this is a must !

when [reno] lets her radical flag fly , taking angry potshots at george w . bush , henry kissinger , larry king , et al . , reno devolves into a laugh-free lecture .

. . . works within its own pensive and penetrating element . caustic and jaunty , gangster no . 1 is a cynical sideshow that dismisses the notion that crime does not always pay .

quite funny for the type of movie it is . . .

painted with broad strokes but with a palette of rich , colorful details .

a delectable little treat that's sunny , funny , and far more intelligent than you'd expect .

transforms one of [shakespeare's] deepest tragedies into a smart new comedy .

a straight-shooting family film which awards animals the respect they've rarely been given .

with the prospect of films like kangaroo jack about to burst across america's winter movie screens it's a pleasure to have a film like the hours as an alternative .

viewed as a travelogue of the little-known indian community that prospers on a little-known island , trinidad , the mystic masseur is successful .

it's a lovely film with lovely performances by buy and accorsi .

that death is merely a transition is a common tenet in the world's religions . this deeply spiritual film taps into the meaning and consolation in afterlife communications .

highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .

. . . familiar and predictable , and 4/5ths of it might as well have come from a xerox machine rather than ( writer-director ) franc . reyes' word processor .

like the chilled breath of oral storytelling frozen onto film .

the master of disguise represents adam sandler's latest attempt to dumb down the universe .

so we got ten little indians meets friday the 13th by way of clean and sober , filmed on the set of carpenter's the thing and loaded with actors you're most likely to find on the next inevitable incarnation of the love boat .

this story of a determined woman's courage to find her husband in a war zone offers winning performances and some effecting moments .

a pathetic exploitation film that tries to seem sincere , and just seems worse for the effort .

on the whole , the movie lacks wit , feeling and believability to compensate for its incessant coarseness and banality .

. . . sheds light on the darkest corner of america's soul Ц and the man with the torch is the unlikely figure of a shuffling , bespectacled and overweight and underpaid filmmaker in baggy jeans .

most new movies have a bright sheen . some , like ballistic , arrive stillborn . . . looking like the beaten , well-worn video box cover of seven years into the future .

so original in its base concept that you cannot help but get caught up .

a b-movie you can sit through , enjoy on a certain level and then forget .

without [de niro] , city by the sea would slip under the waves . he drags it back , single-handed .

. . . the first 2/3 of the film are incredibly captivating and insanely funny , thanks in part to interesting cinematic devices ( cool visual backmasking ) , a solid cast , and some wickedly sick and twisted humor . . .

solaris " is a shapeless inconsequential move relying on the viewer to do most of the work .

the pitch must have read like a discarded house beautiful spread .

the adventures of pluto nash is a whole lot of nada .

i suspect that you'll be as bored watching morvern callar as the characters are in it . if you go , pack your knitting needles .

belongs in the too-hot-for-tv direct-to-video/dvd category , and this is why i have given it a one-star rating .

shattering , devastating documentary on two maladjusted teens in a downward narcotized spiral . extraordinary debut from josh koury .

there has to be a few advantages to never growing old . like being able to hit on a 15-year old when you're over 100 .

it can't be easy starting a movie in the middle , staying in the middle , and then ending it in the middle . . .

if you sometimes like to go to the movies to have fun , wasabi is a good place to start .

an uneven film dealing with too many problems to be taken seriously .

ranging from funny to shattering and featuring some of the year's best acting , personal velocity gathers plenty of dramatic momentum .

trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and the pay-off is negligible .