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the volatile dynamics of female friendship is the subject of this unhurried , low-key film that is so off-hollywood that it seems positively french in its rhythms and resonance .

even those of a single digit age will be able to recognize that this story is too goofy . . . even for disney .

chicago pode até ser um filme divertido e cativante ( como é ) , mas acaba representando um passo que vai na direção contrária à evolução dos musicais .

what makes this film special is serry's ability to take what is essentially a contained family conflict and put it into a much larger historical context .

yet another weepy southern bore-athon .

the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .

a terrific insider look at the star-making machinery of tinseltown .

a gift to anyone who loves both dance and cinema

cool ? this movie is a snow emergency .

compulsively watchable , no matter how degraded things get .

one of those strained caper movies that's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .

lots of effort and intelligence are on display but in execution it is all awkward , static , and lifeless rumblings .

the advantage of a postapocalyptic setting is that it can be made on the cheap . any rock pile will do for a set . reign of fire has the disadvantage of also looking cheap .

hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound .

delightfully rendered

an undeniably moving film to experience , and ultimately that's what makes it worth a recommendation .

even by dumb action-movie standards , ballistic : ecks vs . sever is a dumb action movie .

ethan hawke has always fancied himself the bastard child of the beatnik generation and it's all over his chelsea walls .

an exhausting family drama about a porcelain empire and just as hard a flick as its subject matter .

an impressive if flawed effort that indicates real talent .

cinematic poo .

you get the impression that writer and director burr steers knows the territory . . . but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools .

the best way to hope for any chance of enjoying this film is by lowering your expectations . then lower them a bit more .

a tasty appetizer that leaves you wanting more .

a movie that hovers somewhere between an acute character study and a trite power struggle .

despite its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick , the basic plot of " lilo " could have been pulled from a tear-stained vintage shirley temple script .

it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another .

an overblown clunker full of bad jokes , howling cliches and by-the-numbers action sequences .

unfortunately , kapur modernizes a . e . w . mason's story to suit the sensibilities of a young american , a decision that plucks " the four feathers " bare .

touché !

this is a film living far too much in its own head .

it doesn't offer audiences any way of gripping what its point is , or even its attitude toward its subject .

this thing is just garbage .

the film seems all but destined to pop up on a television screen in the background of a scene in a future quentin tarantino picture

when the fire burns out , we've only come face-to-face with a couple dragons and that's where the film ultimately fails .

each scene wreaks of routine ; the film never manages to generate a single threat of suspense .

even if you can't pronounce " gyro " correctly , you'll appreciate much of vardalos' humor , which transcends ethnic boundaries .

the script is a dim-witted pairing of teen-speak and animal gibberish .

melanie eventually slugs the yankee . too bad the former murphy brown doesn't pop reese back .

if shayamalan wanted to tell a story about a man who loses his faith , why didn't he just do it , instead of using bad sci-fi as window dressing ?

shanghai ghetto should be applauded for finding a new angle on a tireless story , but you might want to think twice before booking passage .

( caine ) proves once again he hasn't lost his touch , bringing off a superb performance in an admittedly middling film .

if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish .

a cockeyed shot all the way .

. . . 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 .

fear dot com is so rambling and disconnected it never builds any suspense .

this low-rent -- and even lower-wit -- rip-off of the farrelly brothers' oeuvre gets way too mushy -- and in a relatively short amount of time .

makmalbaf follows a resolutely realistic path in this uncompromising insight into the harsh existence of the kurdish refugees of iran's borderlands .

extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten .

. . . would be a total loss if not for two supporting performances taking place at the movie's edges .

pacino and williams seem to keep upping the ante on each other , just as their characters do in the film . what results is the best performance from either in years .

. . . perhaps the heaviest , most joyless movie ever made about giant dragons taking over the world .

a woman's pic directed with resonance by ilya chaiken .

director juan jose campanella could have turned this into an argentine retread of " iris " or " american beauty , " but instead pulls a little from each film and creates something more beautiful than either of those films .

the picture seems uncertain whether it wants to be an acidic all-male all about eve or a lush , swooning melodrama in the intermezzo strain .

much of all about lily chou-chou is mesmerizing : some of its plaintiveness could make you weep .

a misogynistic piece of filth that attempts to pass itself off as hip , young adult entertainment .

the whole damn thing is ripe for the jerry springer crowd . it's all pretty cynical and condescending , too .

simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn .

with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in .

a mix of velocity and idiocy , this ruinous remake lacks the brawn -- and the brains -- of the 1970s original .

director uwe boll and writer robert dean klein fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , cannot overcome blah characters .

simplistic fluff-ball of whimsy .

the rollerball sequences feel sanitised and stagey .

offers an interesting look at the rapidly changing face of beijing .

anyway , for one reason or another , crush turns into a dire drama partway through . after that , it just gets stupid and maudlin . too bad , but thanks to some lovely comedic moments and several fine performances , it's not a total loss .

there's nothing interesting in unfaithful whatsoever .

does paint some memorable images . . . , but makhmalbaf keeps her distance from the characters

very psychoanalytical -- provocatively so -- and also refreshingly literary .

[green is] the comedy equivalent of saddam hussein , and i'm just about ready to go to the u . n . and ask permission for a preemptive strike .

a smart , arch and rather cold-blooded comedy .

it has the ability to offend and put off everyone , but it holds you with its outrageousness .

it may not be as cutting , as witty or as true as back in the glory days of weekend and two or three things i know about her , but who else engaged in filmmaking today is so cognizant of the cultural and moral issues involved in the process ?

much like its easily dismissive take on the upscale lifestyle , there isn't much there here .

spectacular in every sense of the word , even if you don' t know an orc from a uruk-hai .

ourside the theatre roger might be intolerable company , but inside it he's well worth spending some time with .

though there are entertaining and audacious moments , the movie's wildly careening tone and an extremely flat lead performance do little to salvage this filmmaker's flailing reputation .

as a film director , labute continues to improve .

lazy , miserable and smug . this is one of the biggest disappointments of the year .

with the cheesiest monsters this side of a horror spoof , which they isn't , it is more likely to induce sleep than fright .

if festival in cannes nails hard- boiled hollywood argot with a bracingly nasty accuracy , much about the film , including some of its casting , is frustratingly unconvincing .

despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j . k . rowling's marvelous series into a deadly bore .

a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her .

high crimes carries almost no organic intrigue as a government/ marine/legal mystery , and that's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue .

like being invited to a classy dinner soiree and not knowing anyone . you leave the same way you came -- a few tasty morsels under your belt , but no new friends .

if i spy were funny ( enough ) or exciting ( enough ) then it would be fairly simple to forgive the financial extortion it's trying to reap from the moviegoing public .

a good film with a solid pedigree both in front of and , more specifically , behind the camera .

as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .

enjoyably fast-moving , hard-hitting documentary .

with tightly organized efficiency , numerous flashbacks and a constant edge of tension , miller's film is one of 2002's involvingly adult surprises .

great fun both for sports aficionados and for ordinary louts whose idea of exercise is climbing the steps of a stadium-seat megaplex .

there's no doubting that this is a highly ambitious and personal project for egoyan , but it's also one that , next to his best work , feels clumsy and convoluted .

building slowly and subtly , the film , sporting a breezy spontaneity and realistically drawn characterizations , develops into a significant character study that is both moving and wise .

an exhilarating futuristic thriller-noir , minority report twists the best of technology around a gripping story , delivering a riveting , pulse intensifying escapist adventure of the first order

even with its $50-million us budget , pinocchio never quite achieves the feel of a fanciful motion picture .

so earnest and well-meaning , and so stocked with talent , that you almost forget the sheer , ponderous awfulness of its script .

narc may not get an 'a' for originality , but it wears its b-movie heritage like a badge of honor .

friday after next is the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans .

by turns pretentious , fascinating , ludicrous , provocative and vainglorious .

the film doesn't have enough innovation or pizazz to attract teenagers , and it lacks the novel charm that made spy kids a surprising winner with both adults and younger audiences .