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this may be burns's strongest film since the brothers mcmullen .

. . . a bland murder-on-campus yawner .

life or something like it has its share of high points , but it misses too many opportunities .

its rawness and vitality give it considerable punch .

an instantly forgettable snow-and-stuntwork extravaganza that likely will be upstaged by an avalanche of more appealing holiday-season product .

the film is really not so much bad as bland .

the country bears has no scenes that will upset or frighten young viewers . unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .

[sam's] self-flagellation is more depressing than entertaining .

the overall feel is not unlike watching a glorified episode of " 7th heaven . "

wang xiaoshuai directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men .

wow , so who knew charles dickens could be so light-hearted ?

para hitler , o mundo era sua tela ; e o horror , seu pincel . e max retrata este fato com elegante abandono , numa triste constatação da realidade histórica .

a tender and touching drama , based on the true story of a troubled african-american's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle .

by no means a great movie , but it is a refreshingly forthright one .

epps has neither the charisma nor the natural affability that has made tucker a star .

the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empathy .

it trusts the story it sets out to tell .

in the end , the weight of water comes to resemble the kind of soft-core twaddle you'd expect to see on showtime's 'red shoe diaries . '

[gai] comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form .

it's difficult to imagine the process that produced such a script , but here's guessing that spray cheese and underarm noises played a crucial role .

at times auto focus feels so distant you might as well be watching it through a telescope . yet in its own aloof , unreachable way it's so fascinating you won't be able to look away for a second .

there's plenty of style in guillermo del toro's sequel to the 1998 hit but why do we need 117 minutes to tell a tale that simply can't sustain more than 90 minutes .

it just didn't mean much to me and played too skewed to ever get a hold on ( or be entertained by ) .

who , exactly , is fighting whom here ? ah , yes , that would be me : fighting off the urge to doze .

credit must be given to harland williams , michael rosenbaum and barry watson , who inject far more good-natured spirit and talent into this project than it deserves

ofrece una buena oportunidad de cultura ( aunque sea condensada ) que bien vale la pena aprovechar .

contrived , maudlin and cliche-ridden . . . if this sappy script was the best the contest received , those rejected must have been astronomically bad .

interesting both as a historical study and as a tragic love story .

it has more than a few moments that are insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing .

the film has a kind of hard , cold effect .

the young stars are too cute ; the story and ensuing complications are too manipulative ; the message is too blatant ; the resolutions are too convenient .

one of those movies where you walk out of the theater not feeling cheated exactly , but feeling pandered to , which , in the end , might be all the more infuriating .

a movie version of a paint-by-numbers picture . we can tell what it is supposed to be , but can't really call it a work of art .

purposefully shocking in its eroticized gore , if unintentionally dull in its lack of poetic frissons .

whenever you think you've figured out late marriage , it throws you for a loop .

they should have called it gutterball .

stock up on silver bullets for director neil marshall's intense freight train of a film .

an exhilarating serving of movie fluff .

fun and nimble .

the invincible werner herzog is alive and well and living in la

yet another arnold vehicle that fails to make adequate use of his particular talents .

generic slasher-movie nonsense , but it's not without style .

a science-fiction pastiche so lacking in originality that if you stripped away its inspirations there would be precious little left .

an overly melodramatic but somewhat insightful french coming-of-age film . . .

too bland and fustily tasteful to be truly prurient .

while obviously aimed at kids , the country bears . . . should keep parents amused with its low groan-to-guffaw ratio .

for a shoot-'em-up , ballistic is oddly lifeless .

no , it's not as single-minded as john carpenter's original , but it's sure a lot smarter and more unnerving than the sequels .

though perry and hurley make inspiring efforts to breathe life into the disjointed , haphazard script by jay scherick and david ronn , neither the actors nor director reginald hudlin can make it more than fitfully entertaining .

these are textbook lives of quiet desperation .

expanded to 65 minutes for theatrical release , it still feels somewhat unfinished .

it's the filmmakers' post-camp comprehension of what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion .

bright seems alternately amused and disgusted with this material , and he can't help throwing in a few of his own touches .

director claude chabrol has become the master of innuendo . it is not what you see , it is what you think you see .

an instance of an old dog not only learning but inventing a remarkable new trick .

a dark , quirky road movie that constantly defies expectation .

this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak .

the cartoon is about as true to the spirit of the festival of lights as mr . deeds was to that of frank capra .

it's a beautifully accomplished lyrical meditation on a bunch of despondent and vulnerable characters living in the renown chelsea hotel . . .

a hit- and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .

even though many of these guys are less than adorable ( their lamentations are pretty much self-centered ) , there's something vital about the movie .

at its best , which occurs often , michael moore's bowling for columbine rekindles the muckraking , soul-searching spirit of the 'are we a sick society ? ' journalism of the 1960s .

ozpetek's effort has the scope and shape of an especially well-executed television movie .

graham greene's novel of colonialism and empire is elevated by michael caine's performance as a weary journalist in a changing world .

wallace gets a bit heavy handed with his message at times , and has a visual flair that waxes poetic far too much for our taste .

a painfully leaden film destined for pre-dawn cable television slots .

leigh's film is full of memorable performances from top to bottom .

a thoughtful movie , a movie that is concerned with souls and risk and schemes and the consequences of one's actions .

one of the more intelligent children's movies to hit theaters this year .

i was trying to decide what annoyed me most about god is great . . . i'm not , and then i realized that i just didn't care .

the filmmaker ascends , literally , to the olympus of the art world , but he would have done well to end this flawed , dazzling series with the raising of something other than his own cremaster .

dialogue-heavy and too cerebral for its own good -- or , at any rate , too cerebral for its racy subject matter .

i wish windtalkers had had more faith in the dramatic potential of this true story . this would have been better than the fiction it has concocted , and there still could have been room for the war scenes .

there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch .

a preposterous , prurient whodunit .

efteriades gives the neighborhood -- scenery , vibe and all -- the cinematic equivalent of a big , tender hug .

by turns fanciful , grisly and engagingly quixotic .

a strong script , powerful direction and splendid production design allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being .

the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting .

anyone who's ever suffered under a martinet music instructor has no doubt fantasized about what an unhappy , repressed and twisted personal life their tormentor deserved . these people are really going to love the piano teacher .

culkin exudes none of the charm or charisma that might keep a more general audience even vaguely interested in his bratty character .

hoffman's performance is authentic to the core of his being .

it all looks and plays like a $40 million version of a game you're more likely to enjoy on a computer .

as it stands , there's some fine sex onscreen , and some tense arguing , but not a whole lot more .

poignant and delicately complex .

without shakespeare's eloquent language , the update is dreary and sluggish .

a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .

the year's happiest surprise , a movie that deals with a real subject in an always surprising way .

villeneuve spends too much time wallowing in bibi's generic angst ( there are a lot of shots of her gazing out windows ) .

did the film inform and educate me ? yes . did it move me to care about what happened in 1915 armenia ? no . and that is where ararat went astray .

'possession , ' based on the book by a . s . byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit

a reasonably entertaining sequel to 1994's surprise family hit that may strain adult credibility .

a taut psychological thriller that doesn't waste a moment of its two-hour running time .

this franchise has not spawned a single good film . the crap continues .

the animation merely serves up a predictable , maudlin story that swipes heavily from bambi and the lion king , yet lacks the emotional resonance of either of those movies .

who needs love like this ?

a budget affair that exposes the generally sad existence of the bedouins while providing a precious twinkle of insight into their lives .

the cast is so low-wattage that none of the characters comes off as big . . . and the setting remains indistinct .

maybe it's asking too much , but if a movie is truly going to inspire me , i want a little more than this .

if it's possible for a sequel to outshine the original , then sl2 does just that .