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may take its sweet time to get wherever it's going , but if you have the patience for it , you won't feel like it's wasted yours .

despite some charm and heart , this quirky soccer import is forgettable

bursting through the constraints of its source , this is one adapted- from-television movie that actually looks as if it belongs on the big screen .

it makes me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens

a moving story of determination and the human spirit .

a movie with a real anarchic flair .

a well-made but emotionally scattered film whose hero gives his heart only to the dog .

so boring that even its target audience talked all the way through it .

" the ring " is pretty much an english-language copy of the film that inspired it , and it carries the same strengths and flaws .

what was subtle and mystifying in the novella is now broad and farcical .

it's a hoot watching the rock chomp on jumbo ants , pull an arrow out of his back , and leap unscathed through raging fire !

seagal , who looks more like danny aiello these days , mumbles his way through the movie .

there aren't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs . the big guys .

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 .

with the dog days of august upon us , think of this dog of a movie as the cinematic equivalent of high humidity .

resourceful and ingenious entertainment .

twenty-three movies into a mostly magnificent directorial career , clint eastwood's efficiently minimalist style finally has failed him . big time .

the film is a contrivance , as artificial as the video games japanese teens play in a nightclub sequence , but it's an enjoyable one .

everyone connected to this movie seems to be part of an insider clique , which tends to breed formulaic films rather than fresh ones .

the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pictures of them cavorting in ladies' underwear .

disney's live-action division has a history of releasing cinematic flotsam , but this is one occasion when they have unearthed a rare gem .

jones . . . makes a great impression as the writer-director of this little $1 . 8 million charmer , which may not be cutting-edge indie filmmaking but has a huge heart .

the kids often appear to be reading the lines and are incapable of conveying any emotion .

this is unusual , food-for-thought cinema that's as entertaining as it is instructive .

tres greek writer and star nia vardalos has crafted here a worldly-wise and very funny script .

a typically observant , carefully nuanced and intimate french coming-of-age film that is an encouraging debut feature but has a needlessly downbeat ending that is too heavy for all that has preceded it .

the isolated moments of creative insanity finally are lost in the thin soup of canned humor .

a film with a great premise but only a great premise .

you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .

strange and beautiful film .

miyazaki has created such a vibrant , colorful world , it's almost impossible not to be swept away by the sheer beauty of his images .

mindless and boring martial arts and gunplay with too little excitement and zero compelling storyline .

the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing .

hayek is stunning as frida and . . . a star-making project .

though a bit of a patchwork in script and production , a glossy , rich green , environment almost makes the picture work .

'they' begins and ends with scenes so terrifying i'm still stunned . and i've decided to leave a light on every night from now on .

to portray modern women the way director davis has done is just unthinkable .

it all unfolds predictably , and the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense .

that rare film whose real-life basis is , in fact , so interesting that no embellishment is needed .

the final result makes for adequate entertainment , i suppose , but anyone who has seen chicago on stage will leave the theater feeling they've watched nothing but a pale imitation of the real deal .

a lively and engaging examination of how similar obsessions can dominate a family .

offers a breath of the fresh air of true sophistication .

the reason this picture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy movies .

the most horrific movie experience i've had since " can't stop the music . " it may as well be called " jar-jar binks : the movie . " it's that painful .

warm water under a red bridge is a quirky and poignant japanese film that explores the fascinating connections between women , water , nature , and sexuality .

a wildly funny prison caper .

lawrence plumbs personal tragedy and also the human comedy .

" roger michell ( " notting hill " ) directs a morality thriller . "

aside from rohmer's bold choices regarding point of view , the lady and the duke represents the filmmaker's lifelong concern with formalist experimentation in cinematic art .

the most compelling performance of the year adds substantial depth to this shocking testament to anti-semitism and neo-fascism .

the screenplay is hugely overwritten , with tons and tons of dialogue -- most of it given to children .

proof that a thriller can be sleekly shot , expertly cast , paced with crisp professionalism . . . and still be a letdown if its twists and turns hold no more surprise than yesterday's weather report .

pure of intention and passably diverting , his secret life is light , innocuous and unremarkable .

the so-inept- it's-surreal dubbing ( featuring the voices of glenn close , regis philbin and breckin meyer ) brings back memories of cheesy old godzilla flicks .

silly , loud and goofy .

to my taste , the film's comic characters come perilously close to being amoses and andys for a new generation .

becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring .

i found the movie as divided against itself as the dysfunctional family it portrays .

[while the last metro] was more melodramatic , confined to a single theater company and its strategies and deceptions , while tavernier is more concerned with the entire period of history .

too slow , too long and too little happens .

few films have captured the chaos of an urban conflagration with such fury , and audience members will leave feeling as shaken as nesbitt's cooper looks when the bullets stop flying .

pretty much sucks , but has a funny moment or two .

a compendium of solondz's own worst instincts in under 90 minutes .

sucking all the 'classic' out of robert louis stevenson's treasure island and filling the void with sci-fi video game graphics and disney-fied adolescent angst . . .

its over-reliance on genre conventions , character types and formulaic conflict resolutions crushes all the goodwill it otherwise develops .

another week , another gross-out college comedy--ugh .

one can't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney's latest album .

it's hard to imagine anybody ever being " in the mood " to view a movie as harrowing and painful as the grey zone , but it's equally hard to imagine anybody being able to tear their eyes away from the screen once it's started .

a valueless kiddie paean to pro basketball underwritten by the nba .

light , cute and forgettable .

a good piece of work more often than not .

there's something unintentionally comic in the film's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties .

by the end of no such thing the audience , like beatrice , has a watchful affection for the monster .

this is the type of movie best enjoyed by frat boys and college kids while sucking on the bong and downing one alcoholic beverage after another .

with lesser talents , high crimes would be entertaining , but forgettable . with freeman and judd , i'll at least remember their characters .

fred schepisi's tale of four englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point .

. . . instead go rent " shakes the clown " , a much funnier film with a similar theme and an equally great robin williams performance .

to better understand why this didn't connect with me would require another viewing , and i won't be sitting through this one again . . . that in itself is commentary enough .

tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience .

only a few minutes elapse before the daddy of all slashers arrives , still with the boiler suit and white mask , which look remarkably clean for a guy who has been mass-murdering since 1978 but has never been seen doing laundry .

with lines that feel like long soliloquies -- even as they are being framed in conversation -- max is static , stilted .

rubbo's humorously tendentious intervention into the who-wrote-shakespeare controversy .

the usual movie rah-rah , pleasantly and predictably delivered in low-key style by director michael apted and writer tom stoppard .

viewed as a comedy , a romance , a fairy tale , or a drama , there's nothing remotely triumphant about this motion picture .

the makers of mothman prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad .

with danilo donati's witty designs and dante spinotti's luscious cinematography , this might have made a decent children's movie -- if only benigni hadn't insisted on casting himself in the title role .

a sincere but dramatically conflicted gay coming-of-age tale .

a muted freak-out

if you liked the 1982 film then , you'll still like it now .

a less-than-thrilling thriller .

the movie is a desperate miscalculation . it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time .

jacobi , the most fluent of actors , is given relatively dry material from nijinsky's writings to perform , and the visuals , even erotically frank ones , become dullingly repetitive .

it's weird , wonderful , and not necessarily for kids .

this is the kind of movie that gets a quick release before real contenders arrive in september .

dramatically lackluster .

meyjes . . . has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics .

secret ballot is too contemplative to be really funny .

its generic villains lack any intrigue ( other than their funny accents ) and the action scenes are poorly delivered .

as an actor's showcase , hart's war has much to recommend it , even if the top-billed willis is not the most impressive player . as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .

this is a very fine movie -- go see it .