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a gorgeous , witty , seductive movie .

family portrait of need , neurosis and nervy negativity is a rare treat that shows the promise of digital filmmaking .

we just don't really care too much about this love story . in that setting , their struggle is simply too ludicrous and borderline insulting .

call it magic realism or surrealism , but miss wonton floats beyond reality with a certain degree of wit and dignity .

one of the oddest and most inexplicable sequels in movie history .

charlotte sometimes is a brilliant movie . it is about irrational , unexplainable life and it seems so real because it does not attempt to filter out the complexity .

while it's genuinely cool to hear characters talk about early rap records ( sugar hill gang , etc . ) , the constant referencing of hip-hop arcana can alienate even the savviest audiences .

another one of those estrogen overdose movies like " divine secrets of the ya ya sisterhood , " except that the writing , acting and character development are a lot better .

just about the best straight-up , old-school horror film of the last 15 years .

just like the deli sandwich : lots of ham , lots of cheese , with a sickly sweet coating to disguise its excrescence until just after ( or during ) consumption of its second half .

at its best ( and it does have some very funny sequences ) looking for leonard reminds you just how comically subversive silence can be .

a plodding teen remake that's so mechanical you can smell the grease on the plot twists .

i kept wishing i was watching a documentary about the wartime navajos and what they accomplished instead of all this specious hollywood hoo-ha .

goyer's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast .

tadpole is a sophisticated , funny and good-natured treat , slight but a pleasure .

the biggest problem i have ( other than the very sluggish pace ) is we never really see her esther blossom as an actress , even though her talent is supposed to be growing .

i whole-heartedly recommend that everyone see this movie-- for its historical significance alone .

lisa rinzler's cinematography may be lovely , but love liza's tale itself virtually collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension .

moderately involving despite bargain-basement photography and hackneyed romance .

spider-man is in the same category as x-men - occasionally brilliant but mostly average , showing signs of potential for the sequels , but not giving us much this time around .

even during the climactic hourlong cricket match , boredom never takes hold .

too loud , too long and too frantic by half , die another day suggests that the bond franchise has run into a creative wall that 007 cannot fly over , tunnel under or barrel through .

cuba gooding jr . valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy .

the only question . . . is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering . average , at best , i'm afraid .

both grant and hoult carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .

with a romantic comedy plotline straight from the ages , this cinderella story doesn't have a single surprise up its sleeve . but it does somehow manage to get you under its spell .

if you're in the mood for a bollywood film , here's one for you .

the sweetest thing leaves an awful sour taste .

even die-hard fans of japanese animation . . . will find this one a challenge .

the filmmakers' eye for detail and the high standards of performance convey a strong sense of the girls' environment .

director carl franklin , so crisp and economical in one false move , bogs down in genre cliches here .

a psychological thriller with a smart script and an obsessive-compulsive's attention to detail .

a coarse and stupid gross-out .

confirms the nagging suspicion that ethan hawke would be even worse behind the camera than he is in front of it .

at best , cletis tout might inspire a trip to the video store -- in search of a better movie experience .

if you're part of her targeted audience , you'll cheer . otherwise , maybe .

the april 2002 instalment of the american war for independence , complete with loads of cgi and bushels of violence , but not a drop of human blood .

elling really is about a couple of crazy guys , and it's therapeutic to laugh along with them .

the plot grinds on with yawn-provoking dullness .

. . . if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you're in for a painful ride .

j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she's a pretty woman , but she's no working girl .

a moving tale of love and destruction in unexpected places , unexamined lives .

the smug , oily demeanor that donovan adopts throughout the stupidly named pipe dream is just repulsive .

the attempt is courageous , even if the result is wildly uneven .

. . . a haunting vision , with images that seem more like disturbing hallucinations .

audiences can be expected to suspend their disbelief only so far -- and that does not include the 5 o'clock shadow on the tall wooden kid as he skips off to school .

this thing works on no level whatsoever for me .

the problem with concept films is that if the concept is a poor one , there's no saving the movie . sorry , charlie

herzog is obviously looking for a moral to his fable , but the notion that a strong , unified showing among germany and eastern european jews might have changed 20th-century history is undermined by ahola's inadequate performance .

guillen rarely gets beneath the surface of things . she lists ingredients , but never mixes and stirs .

cho's fearless in picking apart human foibles , not afraid to lay her life bare in front of an audience . her delivery and timing are flawless .

it's just hard to believe that a life like this can sound so dull .

not only does the thoroughly formulaic film represent totally exemplify middle-of-the-road mainstream , it also represents glossy hollywood at its laziest .

this is one of the year's best films .

the director , with his fake backdrops and stately pacing , never settles on a consistent tone .

i hope the movie is widely seen and debated with appropriate ferocity and thoughtfulness .

woody allen used to ridicule movies like hollywood ending . now he makes them .

expect the same-old , lame-old slasher nonsense , just with different scenery .

a breezy romantic comedy that has the punch of a good sitcom , while offering exceptionally well-detailed characters .

arguably the best script that besson has written in years .

the fun of the movie is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad .

the camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm .

the film tries to touch on spousal abuse but veers off course and becomes just another revenge film .

it's surprisingly bland despite the heavy doses of weird performances and direction .

while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .

the film makes a fatal mistake : it asks us to care about a young man whose only apparent virtue is that he is not quite as unpleasant as some of the people in his life .

it is ridiculous , of course . . . but it is also refreshing , disarming , and just outright enjoyable despite its ridiculousness .

if the idea of the white man arriving on foreign shores to show wary natives the true light is abhorrent to you , the simplistic heaven will quite likely be more like hell .

more honest about alzheimer's disease , i think , than iris .

its mysteries are transparently obvious , and it's too slowly paced to be a thriller . [but it's] worth recommending because of two marvelous performances by michael caine and brendan fraser .

the stripped-down dramatic constructs , austere imagery and abstract characters are equal parts poetry and politics , obvious at times but evocative and heartfelt .

an old-fashioned drama of substance about a teacher's slide down the slippery slope of dishonesty after an encounter with the rich and the powerful who have nothing but disdain for virtue .

the story's so preposterous that i didn't believe it for a second , despite the best efforts of everyone involved .

an overstuffed compendium of teen-catholic-movie dogma .

lapaglia's ability to convey grief and hope works with weaver's sensitive reactions to make this a two-actor master class .

it's both degrading and strangely liberating to see people working so hard at leading lives of sexy intrigue , only to be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen .

a domestic melodrama with weak dialogue and biopic cliches .

the disjointed mess flows as naturally as jolie's hideous yellow 'do .

the thriller side of this movie is falling flat , as the stalker doesn't do much stalking , and no cop or lawyer grasps the concept of actually investigating the case .

on the surface a silly comedy , scotland , pa would be forgettable if it weren't such a clever adaptation of the bard's tragic play .

director chris eyre is going through the paces again with his usual high melodramatic style of filmmaking .

a long-winded , predictable scenario .

. . . ice age treads predictably along familiar territory , making it a passable family film that won't win many fans over the age of 12 .

having never been a huge fan of dickens' 800-page novel , it surprised me how much pleasure i had watching mcgrath's version .

going to the website may be just as fun ( and scary ) as going to the film .

rubbo runs through a remarkable amount of material in the film's short 90 minutes .

equal parts bodice-ripper and plodding costume drama .

ihops don't pile on this much syrup .

it's got some pretentious eye-rolling moments and it didn't entirely grab me , but there's stuff here to like .

bogdanovich puts history in perspective and , via kirsten dunst's remarkable performance , he showcases davies as a young woman of great charm , generosity and diplomacy .

while guzmán frustratingly refuses to give pinochet's crimes a political context , his distance from the material is mostly admirable .

stinks from start to finish , like a wet burlap sack of gloom .

offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film .

in the affable maid in manhattan , jennifer lopez's most aggressive and most sincere attempt to take movies by storm , the diva shrewdly surrounds herself with a company of strictly a-list players .

for most of its footage , the new thriller proves that director m . night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .

everything you loved about it in 1982 is still there , for everybody who wants to be a kid again , or show it to their own kids .

the gags are often a stitch .

haynes has so fanatically fetishized every bizarre old-movie idiosyncrasy with such monastic devotion you're not sure if you should applaud or look into having him committed .

poetry in motion captured on film . while it can be a bit repetitive , overall it's an entertaining and informative documentary .

it's not only dull because we've seen [eddie] murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed .