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the reason to go see `` blue crush '' is the phenomenal , water-born cinematography by david hennings
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who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior
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laggard drama wending its way to an uninspired philosophical epiphany
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of a play that only ever walked the delicate tightrope between farcical and loathsome
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it 's not nearly as fresh or enjoyable as its predecessor ,
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very capable nailbiter
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drowsy
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an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise
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williams absolutely nails sy 's queasy infatuation and overall strangeness .
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take care of my cat emerges as the very best of them
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really a true
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unwieldy contraption .
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confessions is without a doubt a memorable directorial debut from king hunk .
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to mention absolutely refreshed
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smoother or more confident
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this gender-bending comedy is generally quite funny .
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a deliciously nonsensical comedy about a city coming apart at its seams
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of a love affair
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the era of the intelligent , well-made b movie is long gone
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family togetherness takes a back seat to inter-family rivalry and workplace ambition ... whole subplots have no explanation or even plot relevance .
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the best of them
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even betters it
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how it washed out despite all of that is the project 's prime mystery .
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unfairly
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a lot of stamina and vitality
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the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough .
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smoothly sinister freddie
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gushing -- imamura squirts the screen in ` warm water under a red bridge '
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in his role of observer of the scene , lawrence sounds whiny and defensive , as if his life-altering experiences made him bitter and less mature .
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tara reid plays a college journalist ,
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has a handful of smart jokes
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's a masterpeice .
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failed jokes ,
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a must-see
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's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today
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gags to break the tedium
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cultural satire
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two guys yelling in your face for two hours
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strange and wonderful creatures
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weepy
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amiable
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for the uncompromising knowledge that the highest power of all is the power of love
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be particularly innovative
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pile up , undermining the movie 's reality and stifling its creator 's comic voice
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hyper-artificiality
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an uninspired preachy and clichéd war
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as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm .
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's so tedious
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around this movie directionless
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of belly laughs ( including a knockout of a closing line )
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's begun to split up so that it can do even more damage
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a good line
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as the villainous , lecherous police chief scarpia
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about discovering your destination in life
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, herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion .
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cannibal lust above the ordinary
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one is left with a sour taste in one 's mouth , and little else .
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a determined , ennui-hobbled slog
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thoughtful , visually graceful
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meandering
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made a great saturday night live sketch , but a great movie it is not
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slopped ` em together here
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regret and
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fails to provoke them
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seen such self-amused trash since freddy got fingered
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's still entertaining to watch the target practice .
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predictability is the only winner
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unsung heroes
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conjured up more coming-of-age stories
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to a problem hollywood too long has ignored
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a movie comes along to remind us of how very bad a motion picture can truly be .
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the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone .
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real contenders
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shiner can certainly go the distance , but is n't world championship material
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painfully awful
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takes a classic story , casts attractive and talented actors
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implausible
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's spiffing up leftovers that are n't so substantial or fresh
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vital
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sinuously plotted
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naqoyqatsi ' is banal in its message and the choice of material to convey it .
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is terrific as rachel
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to put up with 146 minutes of it
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a film -- rowdy , brawny and lyrical in the best irish sense
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a fascinating case study of flower-power liberation --
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to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
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predictable than their consequences
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wartime
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into too many pointless situations
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big fat liar is a real charmer
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sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions
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schütte 's dramatic snapshot of the artist three days before his death offers an interesting bit of speculation as to the issues brecht faced as his life drew to a close .
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of utter loss personified in the film 's simple title
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is far funnier than it would seem to have any right to be .
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who ca n't act
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tasteful to look at
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while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .
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a dull , somnambulant exercise in pretension whose pervasive quiet is broken by frequent outbursts of violence and noise .
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've had the misfortune to watch in quite some time .
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brings a youthful , out-to-change-the-world aggressiveness to the project
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