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koury frighteningly and honestly exposes one teenager's uncomfortable class resentment and , in turn , his self-inflicted retaliation .

to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed .

wedding feels a bit anachronistic . still , not every low-budget movie must be quirky or bleak , and a happy ending is no cinematic sin .

instead of contriving a climactic hero's death for the beloved-major- character-who-shall- remain-nameless , why not invite some genuine spontaneity into the film by having the evil aliens' laser guns actually hit something for once ?

it's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress .

stuffed to the brim with ideas , american instigator michael moore's film is a rambling examination of american gun culture that uses his usual modus operandi of crucifixion through juxtaposition .

a film in a class with spike lee's masterful do the right thing .

most thrillers send audiences out talking about specific scary scenes or startling moments ; " frailty " leaves us with the terrifying message that the real horror may be waiting for us at home .

tries so hard to be quirky and funny that the strain is all too evident .

is red dragon worthy of a place alongside the other hannibal movies ? as hannibal would say , yes , 'it's like having an old friend for dinner' .

its characters are thinner than cardboard -- or even comic-book paper .

'this movie sucks . '

it is refreshingly undogmatic about its characters .

it takes a really long , slow and dreary time to dope out what tuck everlasting is about . so here it is : it's about a family of sour immortals .

demme gets a lot of flavor and spice into his charade remake , but he can't disguise that he's spiffing up leftovers that aren't so substantial or fresh .

the auteur's ear for the way fears and slights are telegraphed in the most blithe exchanges gives the film its lingering tug .

although fairly involving as far as it goes , the film doesn't end up having much that is fresh to say about growing up catholic or , really , anything .

as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos' memories and insights .

an emotionally strong and politically potent piece of cinema .

exquisitely nuanced in mood tics and dialogue , this chamber drama is superbly acted by the deeply appealing veteran bouquet and the chilling but quite human berling .

an hour and a half of joyful solo performance .

as they used to say in the 1950s sci-fi movies , signs is a tribute to shyamalan's gifts , which are such that we'll keep watching the skies for his next project .

one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind .

this isn't just the cliffsnotes version of nicholas nickleby , it's the cliffsnotes with pages missing .

at times funny and at other times candidly revealing , it's an intriguing look at two performers who put themselves out there because they love what they do .

you see robert de niro singing - and dancing to - west side story show tunes . choose your reaction : a . ) that sure is funny ! b . ) that sure is pathetic !

a glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism .

as we have come to learn -- as many times as we have fingers to count on -- jason is a killer who doesn't know the meaning of the word 'quit . ' the filmmakers might want to look it up .

. . . begins with promise , but runs aground after being snared in its own tangled plot .

bound to appeal to women looking for a howlingly trashy time .

illiterate , often inert sci-fi action thriller .

it's a film that hinges on its casting , and glover really doesn't fit the part .

the movie gets muted and routine .

in the pianist , polanski is saying what he has long wanted to say , confronting the roots of his own preoccupations and obsessions , and he allows nothing to get in the way .

with a confrontational stance , todd solondz takes aim on political correctness and suburban families .

a particularly joyless , and exceedingly dull , period coming-of-age tale .

intelligent , caustic take on a great writer and dubious human being .

to imagine the life of harry potter as a martial arts adventure told by a lobotomized woody allen is to have some idea of the fate that lies in store for moviegoers lured to the mediocrity that is kung pow : enter the fist .

sound the trumpets : for the first time since desperately seeking susan , madonna doesn't suck as an actress .

trouble every day is a success in some sense , but it's hard to like a film so cold and dead .

rock solid family fun out of the gates , extremely imaginative through out , but wanes in the middle

the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive .

[a] rare , beautiful film .

once the audience figure out what's being said , the filmmaker's relative passivity will make it tough for them to really care .

the script is a disaster , with cloying messages and irksome characters .

if this dud had been made in the '70s , it would have been called the hills have antlers and played for about three weeks in drive-ins .

[a] soulless , stupid sequel . . .

uplifting as only a document of the worst possibilities of mankind can be , and among the best films of the year .

not only are the special effects and narrative flow much improved , and daniel radcliffe more emotionally assertive this time around as harry , but the film conjures the magic of author j . k . rowling's books .

conforms itself with creating a game of 'who's who' . . . where the characters' moves are often more predictable than their consequences .

this examination of aquatic life off the shores of the baja california peninsula of mexico offers an engrossing way to demonstrate the virtues of the imax format .

they crush each other under cars , throw each other out windows , electrocute and dismember their victims in full consciousness . and we don't avert our eyes for a moment .

it's tough being a black man in america , especially when the man has taken away your car , your work-hours and denied you health insurance .

the modern-day characters are nowhere near as vivid as the 19th-century ones .

an enjoyable experience .

occasionally melodramatic , it's also extremely effective .

the kids in the audience at the preview screening seemed bored , cheering the pratfalls but little else ; their parents , wise folks that they are , read books .

storytelling feels slight .

a cautionary tale about the folly of superficiality that is itself endlessly superficial .

director todd solondz has made a movie about critical reaction to his two previous movies , and about his responsibility to the characters that he creates .

cuts right through the b . s . giving a big middle-fingered " shut up " to those who talk up what is nothing more than two guys beating the hell outta one another .

although no pastry is violated , this nasty comedy pokes fun at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables -- without much success .

the band performances featured in drumline are red hot . . . [but] from a mere story point of view , the film's ice cold .

entertaining enough , but nothing new

like so many other allegedly scary movies , it gets so tangled up in the twist that it chokes the energy right out of the very audience it seeks to frighten .

it's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth .

what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .

with more character development this might have been an eerie thriller ; with better payoffs , it could have been a thinking man's monster movie .

it's a strange film , one that was hard for me to warm up to .

dazzling and sugar-sweet , a blast of shallow magnificence that only sex , scandal , and a chorus line of dangerous damsels can deliver .

has a lot of the virtues of eastwood at his best .

miller comes at film with bracing intelligence and a vision both painterly and literary .

the film's lack of personality permeates all its aspects — from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed .

`matrix'-style massacres erupt throughout . . . but the movie has a tougher time balancing its violence with kafka-inspired philosophy .

obviously , a lot of people wasted a lot of their time ( including mine ) on something very inconsequential .

it's all a rather shapeless good time . . .

the script is a tired one , with few moments of joy rising above the stale material .

writer/director mark romanek spotlights the underlying caste system in america . it's a scathing portrayal .

at the film's centre is a precisely layered performance by an actor in his mid-seventies , michel piccoli .

one scarcely needs the subtitles to enjoy this colorful action farce .

mr . deeds is , as comedy goes , very silly -- and in the best way .

if you've got a house full of tots -- don't worry , this will be on video long before they grow up and you can wait till then .

every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible . that , in itself , is extraordinary .

a big , loud , bang-the-drum bore .

. . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around )

scores no points for originality , wit , or intelligence . it's a cookie-cutter movie , a cut-and-paste job .

a poignant lyricism runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem .

'butterfingered' is the word for the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach .

a big fat pain .

all ms . jovovich , as the sanctified heroine , has to do is look radiant , grimly purposeful and mildly alarmed while forcing open doors , wielding wrenches and fleeing monsters .

may seriously impair your ability to ever again maintain a straight face while speaking to a highway patrolman .

lástima por schwarzenegger , pero es hora de que deje la estafeta a las nuevas generaciones .

it's also clear from the start that the transporter is running purely on adrenaline , and once the initial high wears off , the film's shortcomings start to shine through .

speaks eloquently about the symbiotic relationship between art and life .

it's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom .

until its final minutes this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity .

this is not one of the movies you'd want to watch if you only had a week to live .

perfectly enjoyable , instantly forgettable , nothing to write home about .

a loving little film of considerable appeal .

zhang yimou delivers warm , genuine characters who lie not through dishonesty , but because they genuinely believe it's the only way to bring happiness to their loved ones .