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anyone who ever fantasized about space travel but can't afford the $20 million ticket to ride a russian rocket should catch this imax offering .

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

it's not a great monster movie . but if you've paid a matinee price and bought a big tub of popcorn , there's guilty fun to be had here . chomp chomp !

unfunny and lacking any sense of commitment to or affection for its characters , the reginald hudlin comedy relies on toilet humor , ethnic slurs .

more vaudeville show than well-constructed narrative , but on those terms it's inoffensive and actually rather sweet .

[dong] makes a valiant effort to understand everyone's point of view , and he does such a good job of it that family fundamentals gets you riled up .

finally , a genre movie that delivers -- in a couple of genres , no less .

" 13 conversations " holds its goodwill close , but is relatively slow to come to the point .

well-meaning but inert .

there are touching moments in etoiles , but for the most part this is a dull , dour documentary on what ought to be a joyful or at least fascinating subject .

the fact that the rookie is a nearly impeccable cinematic experience -- and a wonderful all-ages triumph besides -- is a miracle akin to the story the film portrays .

i'd be hard pressed to think of a film more cloyingly sappy than evelyn this year .

it takes talent to make a lifeless movie about the most heinous man who ever lived .

an average coming-of-age tale elevated by the wholesome twist of a pesky mother interfering during her son's discovery of his homosexuality .

walter hill's pulpy , stylized boxing melodrama undisputed nearly overcomes its questionable in-the-ring match-up with solid fight choreography and gritty prison authenticity .

makes one thing abundantly clear . american musical comedy as we know it wouldn't exist without the precedent of yiddish theater , whose jolly , fun-for-fun's-sake communal spirit goes to the essence of broadway .

turturro is fabulously funny and over the top as a 'very sneaky' butler who excels in the art of impossible disappearing/reappearing acts

probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent .

a lot like the imaginary sport it projects onto the screen -- loud , violent and mindless .

denis o'neill's script avoids the prime sports cliche , a last-second goal to win the championship , but it neglects few others .

unfortunately , heartbreak hospital wants to convey the same kind of haughtiness in its own sketchy material but this territory has already been explored previously with better aplomb and sardonic wit .

dissing a bond movie is quite like calling a dog stupid , but when it has the temerity to run over two hours , you feel like winding up with a kick .

works because , for the most part , it avoids the stupid cliches and formulaic potholes that befall its brethren .

even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .

the film's stagecrafts are intimate and therefore bolder than the otherwise calculated artifice that defines and overwhelms the film's production design .

a thoughtful look at a painful incident that made headlines in 1995 .

new best friend's playboy-mansion presentation of college life is laugh-out-loud ludicrous .

the origin story is well told , and the characters will not disappoint anyone who values the original comic books . it's in the action scenes that things fall apart .

this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .

alternately hilarious and sad , aggravating and soulful , scathing and joyous . it's a masterpeice .

the new faces are interesting , but the old story isn't , especially when it starts to seem more improvised than scripted .

often lingers just as long on the irrelevant as on the engaging , which gradually turns what time is it there ? into how long is this movie ?

[a]n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s .

the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .

broomfield is energized by volletta wallace's maternal fury , her fearlessness , and because of that , his film crackles .

compellingly watchable .

it's a thin notion , repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue .

contando com uma premissa curiosa , o filme mergulha o espectador em um clima de forte suspense , culminando em um desfecho que certamente fica na memória .

thriller directorial debut for traffic scribe gaghan has all the right parts , but the pieces don't quite fit together .

diverting french comedy in which a husband has to cope with the pesky moods of jealousy .

as steamy as last week's pork dumplings .

dull and mechanical , kinda like a very goofy museum exhibit

for all its violence , the movie is remarkably dull with only caine making much of an impression .

vividly conveys the shadow side of the 30-year friendship between two english women .

for all its failed connections , divine secrets of the ya-ya sisterhood is nurturing , in a gauzy , dithering way .

i'm sure mainstream audiences will be baffled , but , for those with at least a minimal appreciation of woolf and clarissa dalloway , the hours represents two of those well spent .

this version incarnates the prophetic book in a way even its exacting author might admire .

judd's characters ought to pick up the durable best seller smart women , foolish choices for advice .

the basic premise is intriguing but quickly becomes distasteful and downright creepy .

taken purely as an exercise in style , this oppressively gloomy techno-horror clambake is impossible to ignore . but as a movie , it's a humorless , disjointed mess .

the latest installment in the pokemon canon , pokemon 4ever is surprising less moldy and trite than the last two , likely because much of the japanese anime is set in a scenic forest where pokemon graze in peace .

" antwone fisher " is an earnest , by-the-numbers effort by washington . it won't rock any boats but is solid meat-and-potatoes filmmaking .

while this has the making of melodrama , the filmmaker cuts against this natural grain , producing a work that's more interested in asking questions than in answering them .

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 .

the film is hampered by its predictable plot and paper-thin supporting characters .

pray's film works well and will appeal even to those who aren't too familiar with turntablism .

a movie that feels like the pilot episode of a new teen-targeted action tv series .

a silly , self-indulgent film about a silly , self-indulgent filmmaker .

lush and beautifully photographed ( somebody suggested the stills might make a nice coffee table book ) , but ultimately you'll leave the theater wondering why these people mattered .

the most hopelessly monotonous film of the year , noteworthy only for the gimmick of being filmed as a single unbroken 87-minute take .

the central character isn't complex enough to hold our interest .

[davis] wants to cause his audience an epiphany , yet he refuses to give us real situations and characters .

the doofus-on- the-loose banter of welcome to collinwood has a cocky , after-hours loopiness to it . and as with most late-night bull sessions , eventually the content isn't nearly as captivating as the rowdy participants think it is .

nijinsky says , 'i know how to suffer' and if you see this film you'll know too .

despite all the closed-door hanky-panky , the film is essentially juiceless .

the warm presence of zhao benshan makes the preposterous lying hero into something more than he reasonably should be .

it's obviously struck a responsive chord with many south koreans , and should work its magic in other parts of the world .

no one involved , save dash , shows the slightest aptitude for acting , and the script , credited to director abdul malik abbott and ernest 'tron' anderson , seems entirely improvised .

cuaron repeatedly , perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective .

collateral damage finally delivers the goods for schwarzenegger fans .

the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .

even in its most tedious scenes , russian ark is mesmerizing .

not counting a few gross-out comedies i've been trying to forget , this is the first film in a long time that made me want to bolt the theater in the first 10 minutes .

each scene drags , underscoring the obvious , and sentiment is slathered on top .

' . . . both hokey and super-cool , and definitely not in a hurry , so sit back , relax and have a few laughs while the little ones get a fuzzy treat . '

a smug and convoluted action-comedy that doesn't allow an earnest moment to pass without reminding audiences that it's only a movie .

that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .

. . . there are enough moments of heartbreaking honesty to keep one glued to the screen .

a sports movie with action that's exciting on the field and a story you care about off it .

. . . stumbles over every cheap trick in the book trying to make the outrage come even easier .

with recent tensions rekindled by the kathleen soliah trial and the upcoming trial of sla members emily and william harris , not to mention sept . 11 , its difficult these days to appreciate fire's bright side .

a film centering on a traditional indian wedding in contemporary new delhi may not sound like specialized fare , but mira nair's film is an absolute delight for all audiences .

highly uneven and inconsistent . . . margarita happy hour kinda resembles the el cheapo margaritas served within .

it's a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties .

the film is an enjoyable family film -- pretty much aimed at any youngster who loves horses .

the plot convolutions ultimately add up to nothing more than jerking the audience's chain .

while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .

rock's stand-up magic wanes . hopkins , squarely fills the screen . action - mechanical .

it's just not very smart .

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

it's mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of [woo's] best work .

denis forges out of the theories of class- based rage and sisterly obsession a razor-sided tuning fork that rings with cultural , sexual and social discord .

[westbrook] makes a wonderful subject for the camera .

a compelling motion picture that illustrates an american tragedy .

if the title is a jeopardy question , then the answer might be " how does steven seagal come across these days ? " or maybe " how will you feel after an 88-minute rip-off of the rock with action confined to slo-mo gun firing and random glass-shattering ?

the bland outweighs the nifty , and cletis tout never becomes the clever crime comedy it thinks it is .

under-rehearsed and lifeless

that storytelling has value cannot be denied . not even solondz's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .

passion , lip-synching , tragedy , and lots of really really high notes . for me , this opera isn't a favorite , so it's a long time before the fat lady sings .

a blair witch- style adventure that plays like a bad soap opera , with passable performances from everyone in the cast .