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if you sometimes like to go to the movies to have fun , wasabi is a good place to start .

overcomes its visual hideousness with a sharp script and strong performances .

vividly conveys the passion , creativity , and fearlessness of one of mexico's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all .

director andrew niccol . . . demonstrates a wry understanding of the quirks of fame . his healthy sense of satire is light and fun . . . .

nights feels more like a quickie tv special than a feature film . . . it's not even a tv special you'd bother watching past the second commercial break .

hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .

you live the mood rather than savour the story .

thanks to scott's charismatic roger and eisenberg's sweet nephew , roger dodger is one of the most compelling variations on in the company of men .

despite modest aspirations its occasional charms are not to be dismissed .

the acting is just fine , but there's not enough substance here to sustain interest for the full 90 minutes , especially with the weak payoff .

a wild ride with eight boarders from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival .

a warm , funny , engaging film .

. . . enthusiastically invokes the percussion rhythm , the brass soul and the sense of fierce competition that helps make great marching bands half the fun of college football games .

it's never dull and always looks good .

a mild , reluctant , thumbs down .

a conventional , but well-crafted film about a historic legal battle in ireland over a man's right to raise his own children .

almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent .

jacquot's tosca is a treat .

rates an 'e' for effort -- and a 'b' for boring .

the quirky and recessive charms of co-stars martin donovan and mary-louise parker help overcome the problematic script .

alarms for duvall's throbbing sincerity and his elderly propensity for patting people while he talks .

last orders nurtures the multi-layers of its characters , allowing us to remember that life's ultimately a gamble and last orders are to be embraced . it's affecting , amusing , sad and reflective .

in a movie full of surprises , the biggest is that secret ballot is a comedy , both gentle and biting .

if h . g . wells had a time machine and could take a look at his kin's reworked version , what would he say ? 'it looks good , sonny , but you missed the point . '

this picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer .

it's a bad thing when a movie has about as much substance as its end credits blooper reel .

as satisfyingly odd and intriguing a tale as it was a century and a half ago . . . has a delightfully dour , deadpan tone and stylistic consistency .

the off-center humor is a constant , and the ensemble gives it a buoyant delivery .

a great comedy filmmaker knows great comedy needn't always make us laugh . tim story's not there yet - but 'barbershop' shows he's on his way .

moretti's compelling anatomy of grief and the difficult process of adapting to loss .

starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other hollywood-action cliches .

though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance .

a sometimes tedious film .

one of the best films i have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense .

it's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru .

like shrek , spirit's visual imagination reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world .

the graphic carnage and re-creation of war-torn croatia is uncomfortably timely , relevant , and sickeningly real .

too clunky and too busy ribbing itself to be truly entertaining .

you'd be hard put to find a movie character more unattractive or odorous [than leon] .

ms . hutchins is talented enough and charismatic enough to make us care about zelda's ultimate fate .

a solid piece of journalistic work that draws a picture of a man for whom political expedience became a deadly foreign policy .

there is very little dread or apprehension , and though i like the creepy ideas , they are not executed with anything more than perfunctory skill .

what starts off as a possible argentine american beauty reeks like a room stacked with pungent flowers .

the bourne identity shouldn't be half as entertaining as it is , but director doug liman and his colleagues have managed to pack it with enough action to satisfy the boom-bam crowd without a huge sacrifice of character and mood .

the grey zone gives voice to a story that needs to be heard in the sea of holocaust movies . . . but the film suffers from its own difficulties .

. . . only bond can save us from the latest eccentric , super-wealthy megalomaniac bent on world domination and destruction .

a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles .

like dickens with his passages , mcgrath crafts quite moving scenes throughout his resolutely dramatic variation on the novel .

a film that's flawed and brilliant in equal measure .

. . . manages to fall closer in quality to silence than to the abysmal hannibal .

serviceable at best , slightly less than serviceable at worst .

greene delivers a typically solid performance in a role that is a bit of a departure from the noble characters he has played in the past , and he is matched by schweig , who carries the film on his broad , handsome shoulders .

the film thrusts the inchoate but already eldritch christian right propaganda machine into national media circles .

a mess when it comes to the characters and writing . . . but works its way underneath the skin like few movies have in recent memory .

it's a movie -- and an album -- you won't want to miss .

since the movie is based on a nicholas sparks best seller , you know death is lurking around the corner , just waiting to spoil things .

since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche .

the director's many dodges and turns add up to little more than a screenful of gamesmanship that's low on both suspense and payoff .

birthday girl lucks out with chaplin and kidman , who are capable of anteing up some movie star charisma when they need it to sell us on this twisted love story , but who can also negotiate the movie's darker turns .

a fascinating and fun film .

a thoroughly awful movie--dumb , narratively chaotic , visually sloppy . . . a weird amalgam of 'the thing' and a geriatric 'scream . '

if you're burnt out on it's a wonderful life marathons and bored with a christmas carol , it might just be the movie you're looking for . it depends on how well flatulence gags fit into your holiday concept .

high crimes miscasts nearly every leading character .

a no-holds-barred cinematic treat .

an overstylized , puréed mélange of sex , psychology , drugs and philosophy . sometimes entertaining , sometimes indulgent -- but never less than pure wankery .

it's leaden and predictable , and laughs are lacking .

i loved the look of this film .

it's fun , but the code-talk will fly right over everyone's head

cage makes an unusual but pleasantly haunting debut behind the camera .

it represents better-than-average movie-making that doesn't demand a dumb , distracted audience .

rifkin's references are . . . impeccable throughout .

the film is filled with humorous observations about the general absurdity of modern life as seen through the eyes outsiders , but deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill .

a gently funny , sweetly adventurous film that makes you feel genuinely good , that is to say , entirely unconned by false sentiment or sharp , overmanipulative hollywood practices .

the film grows on you . and how .

not since tom cruise in risky business has an actor made such a strong impression in his underwear .

all in all , the count of monte cristo is okay , but it is surely no classic , like the novel upon which it is based .

too ordinary to restore [harmon] to prominence , despite some creepy scenes that evoke childish night terrors , and a praiseworthy attempt to generate suspense rather than gross out the audience .

the angst-ridden , affluent slacker characters are more grating than engaging .

the most anti-human big studio picture since 3000 miles to graceland .

michael gerbosi's script is economically packed with telling scenes .

the film's plot may be shallow , but you've never seen the deep like you see it in these harrowing surf shots .

though jackson doesn't always succeed in integrating the characters in the foreground into the extraordinarily rich landscape , it must be said that he is an imaginative filmmaker who can see the forest for the trees .

call me a cold-hearted curmudgeon for not being able to enjoy a mindless action movie , but i believe a movie can be mindless without being the peak of all things insipid .

so mind-numbingly awful that you hope britney won't do it one more time , as far as movies are concerned .

none of these characters resembles anyone you've ever met in real life , unless you happen to know annoyingly self-involved people who speak in glib sentences that could have only come from the pen of a screenwriter .

makes s&m seem very romantic , and maggie gyllenhaal is a delight .

a slick , well-oiled machine , exquisitely polished and upholstered .

spielberg's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later .

this kiddie-oriented stinker is so bad that i even caught the gum stuck under my seat trying to sneak out of the theater

a little more intensity and a little less charm would have saved this film a world of hurt .

plods along , minus the twisted humor and eye-popping visuals that have made miike . . . a cult hero .

bella is the picture of health with boundless energy until a few days before she dies . this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .

instead of making his own style , director marcus adams just copies from various sources – good sources , bad mixture

the images are usually abbreviated in favor of mushy obviousness and telegraphed pathos , particularly where whitaker's misfit artist is concerned .

the strong subject matter continues to shock throughout the film . not everyone will play the dark , challenging tune taught by the piano teacher .

whatever complaints i might have , i'd take [its] earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor's club any time .

bogdanovich taps deep into the hearst mystique , entertainingly reenacting a historic scandal .

. . . the picture's cleverness is ironically muted by the very people who are intended to make it shine .

liman , of swingers and go , makes his big-budget action film debut something of a clunker as he delivers a long , low-heat chase , interrupted by a middling car chase .

nothing more than a run-of-the-mill action flick .