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MrbBakh

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" bad " is the operative word for " bad company , " and i don't mean that in a good way .

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

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

an off-beat and fanciful film about the human need for monsters to blame for all that is amiss in the world .

what makes how i killed my father compelling , besides its terrific performances , is fontaine's willingness to wander into the dark areas of parent-child relationships without flinching .

'god help us , but capra and cooper are rolling over in their graves . '

fubar is very funny , but not always in a laugh-out-loud way .

at no point during k-19 : the widowmaker did this viewer feel enveloped in a story that , though meant to be universal in its themes of loyalty , courage and dedication to a common goal , never seems to leave the lot .

it's at once laughable and compulsively watchable , in its committed dumbness .

you'll have more fun setting fire to yourself in the parking lot . you'll be more entertained getting hit by a bus .

for single digits kidlets stuart little 2 is still a no brainer . if you're looking to rekindle the magic of the first film , you'll need a stronger stomach than us .

will probably be one of those movies barely registering a blip on the radar screen of 2002 .

afraid to pitch into farce , yet only half-hearted in its spy mechanics , all the queen's men is finally just one long drag .

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

the leads are so unmemorable , despite several attempts at lengthy dialogue scenes , that one eventually resents having to inhale this gutter romancer's secondhand material .

it's a day at the beach -- with air conditioning and popcorn .

[newton]wanders through charlie completely unaware she needs to show some presence and star quality .

oscar wilde's masterpiece , the importance of being earnest , may be the best play of the 19th century . it's so good that its relentless , polished wit can withstand not only inept school productions , but even oliver parker's movie adaptation .

dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee .

skip work to see it at the first opportunity .

[taymor] utilizes the idea of making kahlo's art a living , breathing part of the movie , often catapulting the artist into her own work . this isn't a new idea . it's been done before but never so vividly or with so much passion .

kurys never shows why , of all the period's volatile romantic lives , sand and musset are worth particular attention .

the gags , and the script , are a mixed bag .

a live-wire film that never loses its ability to shock and amaze .

i've always dreamed of attending cannes , but after seeing this film , it's not that big a deal .

frequent flurries of creative belly laughs and genuinely enthusiastic performances . . . keep the movie slaloming through its hackneyed elements with enjoyable ease .

it's fitfully funny but never really takes off .

i didn't laugh . i didn't smile . i survived .

in the end , white oleander isn't an adaptation of a novel . it's a flashy , star-splashed reduction .

there's a whole heap of nothing at the core of this slight coming-of-age/coming-out tale .

this overproduced and generally disappointing effort isn't likely to rouse the rush hour crowd .

this time kaufman's imagination has failed him .

woody allen's latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz .

for all the time we spend with these people , we never really get inside of them .

. . . always remains movingly genuine .

marries the amateurishness of the blair witch project with the illogic of series 7 : the contenders to create a completely crass and forgettable movie .

skip the film and buy the philip glass soundtrack cd .

meyjes focuses too much on max when he should be filling the screen with this tortured , dull artist and monster-in-the- making .

a culture-clash comedy that , in addition to being very funny , captures some of the discomfort and embarrassment of being a bumbling american in europe .

schnitzler's film has a great hook , some clever bits and well-drawn , if standard issue , characters , but is still only partly satisfying .

paxton's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre .

began life as a computer game , then morphed into a movie -- a bad one , of course .

it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged .

that the chuck norris " grenade gag " occurs about 7 times during windtalkers is a good indication of how serious-minded the film is .

i'd watch these two together again in a new york minute .

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

it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .

only two-fifths of a satisfying movie experience .

it's worth seeing just on the basis of the wisdom , and at times , the startling optimism , of the children .

the film's almost unbearable portrait of sadness and grief transcends its specific story to speak to the ways in which need , history and presumption tangle , and sometimes destroy , blood ties .

it is just too bad the film's story does not live up to its style .

it's solid and affecting and exactly as thought-provoking as it should be .

runs on the pure adrenalin of pacino's performance .

a little better than sorcerer's stone .

a late-night cable sexploitation romp masquerading as a thriller about the ruthless social order that governs college cliques .

pumpkin sits in a patch somewhere between mirthless todd solondzian satire and callow student film .

the performances are so leaden , michael rymer's direction is so bloodless and the dialogue is so corny that the audience laughs out loud .

the film is ultimately about as inspiring as a hallmark card .

denzel washington's efforts are sunk by all the sanctimony .

an uplifting , near-masterpiece .

cho's timing is priceless .

the cold and dreary weather is a perfect metaphor for the movie itself , which contains few laughs and not much drama .

reeks of rot and hack work from start to finish .

the plot's contrivances are uncomfortably strained .

if you ignore the cliches and concentrate on city by the sea's interpersonal drama , it ain't half-bad .

serving sara doesn't serve up a whole lot of laughs .

a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies .

the movie has lots of dancing and fabulous music . there are slow and repetitive parts , but it has just enough spice to keep it interesting .

aan opportunity wasted .

spend your benjamins on a matinee .

detox is ultimately a pointless endeavor .

jaw-droppingly superficial , straining to get by on humor that is not even as daring as john ritter's glory days on three's company .

the all-french cast is marveilleux .

boasts enough funny dialogue and sharp characterizations to be mildly amusing .

this is nothing but familiar territory .

brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life .

strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .

it's mildly interesting to ponder the peculiar american style of justice that plays out here , but it's so muddled and derivative that few will bother thinking it all through .

isn't quite the equal of woo's best earlier work , but it's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films .

it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker's motherland .

flawed , but worth seeing for ambrose's performance .

scorsese at his best makes gangster films that are equally lovely but also relentlessly brutal and brutally intelligent ; perdition , meanwhile , reads more like driving miss daisy than goodfellas .

instead of a balanced film that explains the zeitgeist that is the x games , we get a cinematic postcard that's superficial and unrealized .

the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded .

what eric schaeffer has accomplished with never again may not , strictly speaking , qualify as revolutionary . but it's defiantly and delightfully against the grain .

it's plotless , shapeless -- and yet , it must be admitted , not entirely humorless . indeed , the more outrageous bits achieve a shock-you-into-laughter intensity of almost dadaist proportions .

on its icy face , the new film is a subzero version of monsters , inc . , without the latter's imagination , visual charm or texture .

a fast-paced , glitzy but extremely silly piece .

does little more than play an innocuous game of fill-in- the-blanks with a tragic past .

gets bogged down by an overly sillified plot and stop-and-start pacing .

thoughtful , provocative and entertaining .

helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .

flashy , pretentious and as impenetrable as morvern's thick , working-class scottish accent .

new best friend shouldn't have gone straight to video ; it should have gone straight to a mystery science theater 3000 video .

if you enjoy being rewarded by a script that assumes you aren't very bright , then blood work is for you .

it looks much more like a cartoon in the end than the simpsons ever has .

the long-range appeal of " minority report " should transcend any awards it bags . this is one for the ages .

the animation and game phenomenon that peaked about three years ago is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication .

sometimes , nothing satisfies like old-fashioned swashbuckling . and in this regard , on guard delivers .

well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull .