a stirring , funny and finally transporting re-imagining of beauty and the beast and 1930s horror films


apparently reassembled from the cutting-room floor of any given daytime soap .


they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes .


this is a visually stunning rumination on love , memory , history and the war between art and commerce .


jonathan parker 's bartleby should have been the be-all-end-all of the modern-office anomie films .


campanella gets the tone just right -- funny in the middle of sad in the middle of hopeful .


a fan film that for the uninitiated plays better on video with the sound turned down .


béart and berling are both superb , while huppert ... is magnificent .


a little less extreme than in the past , with longer exposition sequences between them , and with fewer gags to break the tedium .


the film is strictly routine .


a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world .


the most repugnant adaptation of a classic text since roland joffé and demi moore 's the scarlet letter .


for something as splendid-looking as this particular film , the viewer expects something special but instead gets -lrb- sci-fi -rrb- rehash .


this is a stunning film , a one-of-a-kind tour de force .


may be more genial than ingenious , but it gets the job done .


there is a freedom to watching stunts that are this crude , this fast-paced and this insane .


if the tuxedo actually were a suit , it would fit chan like a $ 99 bargain-basement special .


as quiet , patient and tenacious as mr. lopez himself , who approaches his difficult , endless work with remarkable serenity and discipline .


final verdict : you 've seen it all before .


blue crush follows the formula , but throws in too many conflicts to keep the story compelling .


you ... get a sense of good intentions derailed by a failure to seek and strike just the right tone .


a slick , engrossing melodrama .


a wretched movie that reduces the second world war to one man 's quest to find an old flame .


will undoubtedly play well in european markets , where mr. besson is a brand name , and in asia , where ms. shu is an institution , but american audiences will probably find it familiar and insufficiently cathartic .


lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child 's interest and an adult 's patience .


the santa clause 2 proves itself a more streamlined and thought out encounter than the original could ever have hoped to be .


the film is moody , oozing , chilling and heart-warming all at once ... a twisting , unpredictable , cat-and-mouse thriller .


too bad .


a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man .


gooding offers a desperately ingratiating performance .


a well-intentioned effort that 's still too burdened by the actor 's offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility .


a fun ride .


an edgy thriller that delivers a surprising punch .


` what 's the russian word for wow !? '


otto-sallies has a real filmmaker 's eye .


lurid and less than lucid work .


with its parade of almost perpetually wasted characters ... margarita feels like a hazy high that takes too long to shake .


i could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay .


overall , cletis tout is a winning comedy that excites the imagination and tickles the funny bone .


you live the mood rather than savour the story .


the movie is so thoughtlessly assembled .


some body is a shaky , uncertain film that nevertheless touches a few raw nerves .


it 's a very sincere work , but it would be better as a diary or documentary .


while american adobo has its heart -lrb- and its palate -rrb- in the right place , its brain is a little scattered -- ditsy , even .


unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck .


and it 's a lousy one at that .


it 's not too fast and not too slow .


it 's an entertaining movie , and the effects , boosted to the size of a downtown hotel , will all but take you to outer space .


it is as uncompromising as it is nonjudgmental , and makes clear that a prostitute can be as lonely and needy as any of the clients .


compellingly watchable .


despite some comic sparks , welcome to collinwood never catches fire .


though jackson does n'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 .


not only does spider-man deliver , but i suspect it might deliver again and again .


it 's worth taking the kids to .


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


dense , exhilarating documentary .


... feels as if -lrb- there 's -rrb- a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .


poignant if familiar story of a young person suspended between two cultures .


methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it 's so successful at lodging itself in the brain .


though a touch too arthouse 101 in its poetic symbolism , heaven proves to be a good match of the sensibilities of two directors .


superbly photographed and staged by mendes with a series of riveting set pieces the likes of which mainstream audiences have rarely seen .


a metaphor for a modern-day urban china searching for its identity .


it 's a square , sentimental drama that satisfies , as comfort food often can .


the wonderfully lush morvern callar is pure punk existentialism , and ms. ramsay and her co-writer , liana dognini , have dramatized the alan warner novel , which itself felt like an answer to irvine welsh 's book trainspotting .


admirers of director abel ferrara may be relieved that his latest feature , r xmas , marks a modest if encouraging return to form .


not once in the rush to save the day did i become very involved in the proceedings ; to me , it was just a matter of ` eh . '


an ugly-duckling tale so hideously and clumsily told it feels accidental .


becomes a bit of a mishmash : a tearjerker that does n't and a thriller that wo n't .


could i have been more geeked when i heard that apollo 13 was going to be released in imax format ?


this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it .


more successful at relating history than in creating an emotionally complex , dramatically satisfying heroine


cho 's timing is priceless .


criminal conspiracies and true romances move so easily across racial and cultural lines in the film that it makes my big fat greek wedding look like an apartheid drama .


there 's something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers .


what elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish .


nicholson 's understated performance is wonderful .


the filmmakers know how to please the eye , but it is not always the prettiest pictures that tell the best story .


it 's unfortunate that wallace , who wrote gibson 's braveheart as well as the recent pearl harbor , has such an irrepressible passion for sappy situations and dialogue .


jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .


... a fascinating curiosity piece -- fascinating , that is , for about ten minutes .


over and over again .


nolan proves that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure .


this bond film goes off the beaten path , not necessarily for the better .


... its solemn pretension prevents us from sharing the awe in which it holds itself .


the drama discloses almost nothing .


a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .


isabelle huppert excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol 's most intense psychological mysteries .


like its parade of predecessors , this halloween is a gory slash-fest .


perhaps the best sports movie i 've ever seen .


this pathetic junk is barely an hour long .


ou 've got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane .


this is a gorgeous film - vivid with color , music and life .


playing a role of almost bergmanesque intensity ... bisset is both convincing and radiant .


the trappings of i spy are so familiar you might as well be watching a rerun .


it treats ana 's journey with honesty that is tragically rare in the depiction of young women in film .


leigh makes these lives count .


ambitious , unsettling psychodrama that takes full , chilling advantage of its rough-around-the-edges , low-budget constraints .


the woodman seems to have directly influenced this girl-meets-girl love story , but even more reassuring is how its makers actually seem to understand what made allen 's romantic comedies so pertinent and enduring .


i could n't recommend this film more .


an inexperienced director , mehta has much to learn .


you can taste it , but there 's no fizz .


a reworking of die hard and cliffhanger but it 's nowhere near as exciting as either .


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


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


why ?


and that is where ararat went astray .


vincent gallo is right at home in this french shocker playing his usual bad boy weirdo role .


clockstoppers is one of those crazy , mixed-up films that does n't know what it wants to be when it grows up .


sandra bullock , despite downplaying her good looks , carries a little too much ai n't - she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff .


it 's mostly a pleasure to watch .


its spirit of iconoclastic abandon -- however canned -- makes for unexpectedly giddy viewing .


a kilted jackson is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces .


i did n't find much fascination in the swinging .


this is no `` waterboy ! ''


but the nerve-raked acting , the crackle of lines , the impressive stagings of hardware , make for some robust and scary entertainment .


baby-faced renner is eerily convincing as this bland blank of a man with unimaginable demons within .


the kind of primal storytelling that george lucas can only dream of .


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


the irwins ' scenes are fascinating ; the movie as a whole is cheap junk and an insult to their death-defying efforts .


it 's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .


he seems to want both , but succeeds in making neither .


by turns fanciful , grisly and engagingly quixotic .


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


i 've never seen -lrb- a remake -rrb- do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic ...


those who want to be jolted out of their gourd should drop everything and run to ichi .


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


this amiable picture talks tough , but it 's all bluster -- in the end it 's as sweet as greenfingers ...


my little eye is the best little `` horror '' movie i 've seen in years .


the movie is a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents .


it may ... work as a jaunt down memory lane for teens and young adults who grew up on televised scooby-doo shows or reruns .


suffers from a flat script and a low budget .


the movie is well done , but slow .


the master of disguise is awful .


the film is one of the year 's best .


one of the year 's most weirdly engaging and unpredictable character pieces .


the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why .


the three leads produce adequate performances , but what 's missing from this material is any depth of feeling .


`` looking for leonard '' just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .


the most surprising thing about this film is that they are actually releasing it into theaters .


... one resurrection too many .


oh , look at that clever angle !


no , i hate it .


for a long time the film succeeds with its dark , delicate treatment of these characters and its unerring respect for them .


the casting of raymond j. barry as the ` assassin ' greatly enhances the quality of neil burger 's impressive fake documentary .


the film is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables .


the filmmakers want nothing else than to show us a good time , and in their cheap , b movie way , they succeed .


a rollicking ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending .


an hour and a half of joyful solo performance .


contrived pastiche of caper clichés .


a triumph , a film that hews out a world and carries us effortlessly from darkness to light .


steven soderbergh 's digital video experiment is a clever and cutting , quick and dirty look at modern living and movie life .


kinnear 's performance is a career-defining revelation .


not only a reminder of how they used to make movies , but also how they sometimes still can be made .


the dragons are the real stars of reign of fire and you wo n't be disappointed .


if you 're over 25 , have an iq over 90 , and have a driver 's license , you should be able to find better entertainment .


for devotees of french cinema , safe conduct is so rich with period minutiae it 's like dying and going to celluloid heaven .


scherfig , who has had a successful career in tv , tackles more than she can handle .


this sade is hardly a perverse , dangerous libertine and agitator -- which would have made for better drama .


by the end of the movie , you 're definitely convinced that these women are spectacular .


... a plotline that 's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project !


the modern-day royals have nothing on these guys when it comes to scandals .


essentially `` fatal attraction '' remade for viewers who were in diapers when the original was released in 1987 .


it does n't really know or care about the characters , and uses them as markers for a series of preordained events .


` opening up ' the play more has partly closed it down .


even though it 's common knowledge that park and his founding partner , yong kang , lost kozmo in the end , you ca n't help but get caught up in the thrill of the company 's astonishing growth .


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


every moment crackles with tension , and by the end of the flick , you 're on the edge of your seat .


the imax screen enhances the personal touch of manual animation .


coal is n't as easy to come by as it used to be and this would be a worthy substitute for naughty children 's stockings .


as pedestrian as they come .


why , you may ask , why should you buy the movie milk when the tv cow is free ?


sunk by way too much indulgence of scene-chewing , teeth-gnashing actorliness .


that 's fun for kids of any age .


raimi and his team could n't have done any better in bringing the story of spider-man to the big screen .


a colorful , joyous celebration of life ; a tapestry woven of romance , dancing , singing , and unforgettable characters .


a rip-roaring comedy action fest that 'll put hairs on your chest .


the premise of jason x is silly but strangely believable .


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


chelsea walls is a case of too many chefs fussing over too weak a recipe .


the cast ... keeps this pretty watchable , and casting mick jagger as director of the escort service was inspired .


-lrb- the kid 's -rrb- just too bratty for sympathy , and as the film grows to its finale , his little changes ring hollow .


contradicts everything we 've come to expect from movies nowadays .


there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .


the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .


the solid filmmaking and convincing characters makes this a high water mark for this genre .


the kind of movie that comes along only occasionally , one so unconventional , gutsy and perfectly executed it takes your breath away .


with an admirably dark first script by brent hanley , paxton , making his directorial feature debut , does strong , measured work .


funny , somber , absurd , and , finally , achingly sad , bartleby is a fine , understated piece of filmmaking .


every now and again , a movie comes along to remind us of how very bad a motion picture can truly be .


unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .


schrader examines crane 's decline with unblinking candor .


that the e-graveyard holds as many good ideas as bad is the cold comfort that chin 's film serves up with style and empathy .


you would n't want to live waydowntown , but it is a hilarious place to visit .


the bai brothers have taken an small slice of history and opened it up for all of us to understand , and they 've told a nice little story in the process .


there 's not one decent performance from the cast and not one clever line of dialogue .


translation : ` we do n't need to try very hard . '


return to never land is reliable , standard disney animated fare , with enough creative energy and wit to entertain all ages .


it sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .


caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose .


a captivating and intimate study about dying and loving ...


oversexed , at times overwrought comedy\/drama that offers little insight into the experience of being forty , female and single .


the world needs more filmmakers with passionate enthusiasms like martin scorsese .


the director seems to take an unseemly pleasure in -lrb- the characters ' -rrb- misery and at the same time to congratulate himself for having the guts to confront it .


the history is fascinating ; the action is dazzling .


the unexpected thing is that its dying , in this shower of black-and-white psychedelia , is quite beautiful .


i also believe that resident evil is not it .


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


meeting , even exceeding expectations , it 's the best sequel since the empire strikes back ... a majestic achievement , an epic of astonishing grandeur and surprising emotional depth .


while general audiences might not come away with a greater knowledge of the facts of cuban music , they 'll be treated to an impressive and highly entertaining celebration of its sounds .


not only better than its predecessor , it may rate as the most magical and most fun family fare of this or any recent holiday season .


... may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence .


death to smoochy tells a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke .


spielberg 's picture is smarter and subtler than -lrb- total recall and blade runner -rrb- , although its plot may prove too convoluted for fun-seeking summer audiences .


hart 's war seems to want to be a character study , but apparently ca n't quite decide which character .


smaller numbered kidlets will enjoy .


offers no new insight on the matter , nor do its characters exactly spring to life .


i 'm convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking .


the connected stories of breitbart and hanussen are actually fascinating , but the filmmaking in invincible is such that the movie does not do them justice .


the characters are more deeply thought through than in most ` right-thinking ' films .


these characters are so well established that the gang feels comfortable with taking insane liberties and doing the goofiest stuff out of left field , and i 'm all for that .


with a completely predictable plot , you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .


the jokes are sophomoric , stereotypes are sprinkled everywhere and the acting ranges from bad to bodacious .


cho 's latest comic set is n't as sharp or as fresh as i 'm the one that i want ... but it 's still damn funny stuff .


much has been written about those years when the psychedelic '60s grooved over into the gay '70s , but words do n't really do the era justice .


one of the best looking and stylish animated movies in quite a while ...


light the candles , bring out the cake and do n't fret about the calories because there 's precious little substance in birthday girl -- it 's simply , and surprisingly , a nice , light treat .


it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .


sayles ... once again strands his superb performers in the same old story .


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 .


nicole kidman makes it a party worth attending .


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 .


the gentle comic treatment of adolescent sturm und drang should please fans of chris fuhrman 's posthumously published cult novel .


shatner is probably the funniest person in the film , which gives you an idea just how bad it was .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


there 's some outrageously creative action in the transporter ... -lrb- b -rrb- ut by the time frank parachutes down onto a moving truck , it 's just another cartoon with an unstoppable superman .


for those of an indulgent , slightly sunbaked and summery mind , sex and lucia may well prove diverting enough .


it might be ` easier ' to watch on video at home , but that should n't stop die-hard french film connoisseurs from going out and enjoying the big-screen experience .


-lrb- reno -rrb- delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion .


rich in atmosphere of the post-war art world , it manages to instruct without reeking of research library dust .


more good than great but freeman and judd make it work .


it 's nice to see piscopo again after all these years , and chaykin and headly are priceless .


never again , while nothing special , is pleasant , diverting and modest -- definitely a step in the right direction .


if the last man were the last movie left on earth , there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows .


she is a lioness , protecting her cub , and he a reluctant villain , incapable of controlling his crew .


this is an interesting movie ! ''


it 's simply stupid , irrelevant and deeply , truly , bottomlessly cynical .


the movie is almost completely lacking in suspense , surprise and consistent emotional conviction .


the characters are so generic and the plot so bland that even as rogue cia assassins working for chris cooper 's agency boss close in on the resourceful amnesiac , we do n't feel much for damon\/bourne or his predicament .


like a can of 2-day old coke .


this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short .


yes , i suppose it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life -- but world traveler gave me no reason to care , so i did n't .


that the film opens with maggots crawling on a dead dog is not an out of place metaphor .


if the plot seems a bit on the skinny side , that 's because panic room is interested in nothing more than sucking you in ... and making you sweat .


drumline ably captures the complicated relationships in a marching band .


the entire cast is first-rate , especially sorvino .


it 's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .


nothing about this movie works .


a solidly entertaining little film .


-lrb- `` safe conduct '' -rrb- is a long movie at 163 minutes but it fills the time with drama , romance , tragedy , bravery , political intrigue , partisans and sabotage .


although mainstream american movies tend to exploit the familiar , every once in a while a film arrives from the margin that gives viewers a chance to learn , to grow , to travel .


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 .


this is an exercise in chilling style , and twohy films the sub , inside and out , with an eye on preserving a sense of mystery .


hey everybody , wanna watch a movie in which a guy dressed as a children 's party clown gets violently gang-raped ?


it makes compelling , provocative and prescient viewing .


a flawed but engrossing thriller .


never comes together as a coherent whole .


a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies .


what sets ms. birot 's film apart from others in the genre is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents .


like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand .


it 's a wise and powerful tale of race and culture forcefully told , with superb performances throughout .


one of those terrific documentaries that collect a bunch of people who are enthusiastic about something and then figures out how to make us share their enthusiasm .


not only are the film 's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .


i have to admit that i am baffled by jason x.


the film gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection .


a rip-off twice removed , modeled after -lrb- seagal 's -rrb- earlier copycat under siege , sometimes referred to as die hard on a boat .


ms. seigner and mr. serrault bring fresh , unforced naturalism to their characters .


that 's muy loco , but no more ridiculous than most of the rest of `` dragonfly . ''


but the movie that does n't really deliver for country music fans or for family audiences


if you answered yes , by all means enjoy the new guy .


generates an enormous feeling of empathy for its characters .


the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .


those prone to indignation need not apply ; those susceptible to blue hilarity , step right up .


an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves .


would make an excellent companion piece to the similarly themed ` the french lieutenant 's woman . '


if you like quirky , odd movies and\/or the ironic , here 's a fun one .


no french people were harmed during the making of this movie , but they were insulted and the audience was put through torture for an hour and a half .


woody allen can write and deliver a one liner as well as anybody .


the most consistently funny of the austin powers films .


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 .


paid in full is remarkably engaging despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks .


the plot has a number of holes , and at times it 's simply baffling .


the redeeming feature of chan 's films has always been the action , but the stunts in the tuxedo seem tired and , what 's worse , routine .


amazingly lame .


not even felinni would know what to make of this italian freakshow .


garcía bernal and talancón are an immensely appealing couple , and even though their story is predictable , you 'll want things to work out .


-- but certainly hard to hate .


finely crafted , finely written , exquisitely performed


parker can not sustain the buoyant energy level of the film 's city beginnings into its country conclusion '


the story is a rather simplistic one : grief drives her , love drives him , and a second chance to find love in the most unlikely place - it struck a chord in me .


a cockeyed shot all the way .


clare peploe 's airless movie adaptation could use a little american pie-like irreverence .


a woefully dull , redundant concept that bears more than a whiff of exploitation , despite iwai 's vaunted empathy .


a cutesy romantic tale with a twist .


about one in three gags in white 's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook .


it plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting .


give credit to everyone from robinson down to the key grip that this bold move works .


enough said , except : film overboard !


a suffocating rape-payback horror show that hinges on the subgenre 's most enabling victim ... and an ebullient affection for industrial-model meat freezers .


while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii .


a collage of clichés and a dim echo of allusions to other films .


combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why did n't hollywood think of this sooner ?


if damon and affleck attempt another project greenlight , next time out they might try paying less attention to the miniseries and more attention to the film it is about .


the screenplay by james eric , james horton and director peter o'fallon ... is so pat it makes your teeth hurt .


i 'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment .


not only does leblanc make one spectacularly ugly-looking broad , but he appears miserable throughout as he swaggers through his scenes .


an elegant work , food of love is as consistently engaging as it is revealing .


the pain , loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze .


... a weak and ineffective ghost story without a conclusion or pay off .


if you 're a fan of the series you 'll love it and probably want to see it twice .


the film never finds its tone and several scenes run too long .


suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands .


it 's not a motion picture ; it 's an utterly static picture .


it 's probably not easy to make such a worthless film ...


the film is bright and flashy in all the right ways .


a brisk , reverent , and subtly different sequel .


a macabre and very stylized swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters .


does an impressive job of relating the complicated history of the war and of filling in the background .


a fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system


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


quitting , however , manages just to be depressing , as the lead actor phones in his autobiographical performance .


i did go back and check out the last 10 minutes , but these were more repulsive than the first 30 or 40 minutes .


in the end , the movie bogs down in insignificance , saying nothing about kennedy 's assassination and revealing nothing about the pathology it pretends to investigate .


it 's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original .


it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes .


boomers and their kids will have a barrie good time .


wow .


if disney 's cinderella proved that ' a dream is a wish your heart makes , ' then cinderella ii proves that a nightmare is a wish a studio 's wallet makes .


been there , done that ... a thousand times already , and better .


an infuriating film .


a film with a great premise but only a great premise .


seagal ran out of movies years ago , and this is just the proof .


a backhanded ode to female camaraderie penned by a man who has little clue about either the nature of women or of friendship .


the fetid underbelly of fame has never looked uglier .


by halfway through this picture i was beginning to hate it , and , of course , feeling guilty for it ... then , miracle of miracles , the movie does a flip-flop .


soulless and -- even more damning -- virtually joyless , xxx achieves near virtuosity in its crapulence .


what the movie lacks in action it more than makes up for in drama , suspense , revenge , and romance .


sweet home alabama is n't going to win any academy awards , but this date-night diversion will definitely win some hearts .


it 's a satisfying summer blockbuster and worth a look .


a party-hearty teen flick that scalds like acid .


the movie is ... very funny as you peek at it through the fingers in front of your eyes .


while the story is better-focused than the incomprehensible anne rice novel it 's based upon , queen of the damned is a pointless , meandering celebration of the goth-vampire , tortured woe-is-me lifestyle .


originality ai n't on the menu , but there 's never a dull moment in the giant spider invasion comic chiller .


like mike is a slight and uninventive movie : like the exalted michael jordan referred to in the title , many can aspire but none can equal .


the cast , collectively a successful example of the lovable-loser protagonist , shows deft comic timing .


a grittily beautiful film that looks , sounds , and feels more like an extended , open-ended poem than a traditionally structured story .


strangely comes off as a kingdom more mild than wild .


a few hours after you 've seen it , you forget you 've been to the movies .


yet it 's not quite the genre-busting film it 's been hyped to be because it plays everything too safe .


the biggest problem with roger avary 's uproar against the mpaa is that , even in all its director 's cut glory , he 's made a film that 's barely shocking , barely interesting and most of all , barely anything .


peralta captures , in luminous interviews and amazingly evocative film from three decades ago , the essence of the dogtown experience .


manages to accomplish what few sequels can -- it equals the original and in some ways even betters it .


the end result is like cold porridge with only the odd enjoyably chewy lump .


it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action .


despite a quieter middle section , involving aragorn 's dreams of arwen , this is even better than the fellowship .


that such a horrible movie could have sprung from such a great one is one of the year 's worst cinematic tragedies .


a fleet-footed and pleasingly upbeat family diversion .


australian filmmaker david flatman uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them .


`` mr. deeds '' is suitable summer entertainment that offers escapism without requiring a great deal of thought .


lame sweet home leaves no southern stereotype unturned .


rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories .


it 's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic .


yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


you may be galled that you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie .


mr. scorsese 's bravery and integrity in advancing this vision can hardly be underestimated .


more intellectually scary than dramatically involving .


the movie is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the `` webcast . ''


fun and nimble .


when the casting call for this movie went out , it must have read ` seeking anyone with acting ambition but no sense of pride or shame . '


the movie is a desperate miscalculation .


what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .


plays like a glossy melodrama that occasionally verges on camp .


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


polanski has found the perfect material with which to address his own world war ii experience in his signature style .


the main story ... is compelling enough , but it 's difficult to shrug off the annoyance of that chatty fish .


the film boasts at least a few good ideas and features some decent performances , but the result is disappointing .


it 's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke .


if mostly martha is mostly unsurprising , it 's still a sweet , even delectable diversion .


top-notch action powers this romantic drama .


roman polanski 's autobiographical gesture at redemption is better than ` shindler 's list ' - it is more than merely a holocaust movie .


an admitted egomaniac , evans is no hollywood villain , and yet this grating showcase almost makes you wish he 'd gone the way of don simpson .


confessions may not be a straightforward bio , nor does it offer much in the way of barris ' motivations , but the film is an oddly fascinating depiction of an architect of pop culture .


the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror\/action hybrid .


takes a simple premise and carries it to unexpected heights .


` moore is like a progressive bull in a china shop , a provocateur crashing into ideas and special-interest groups as he slaps together his own brand of liberalism . '


the film reminds me of a vastly improved germanic version of my big fat greek wedding -- with better characters , some genuine quirkiness and at least a measure of style .


the star who helped give a spark to `` chasing amy '' and `` changing lanes '' falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears . ''


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


a marvelous performance by allison lohman as an identity-seeking foster child .


a slow-moving police-procedural thriller that takes its title all too literally .


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 .


leigh is n't breaking new ground , but he knows how a daily grind can kill love .


the master of disguise represents adam sandler 's latest attempt to dumb down the universe .


i ca n't say this enough : this movie is about an adult male dressed in pink jammies .


-lrb- a -rrb- boldly stroked , luridly coloured , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .


once one experiences mr. haneke 's own sadistic tendencies toward his audience , one is left with a sour taste in one 's mouth , and little else .


with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


about schmidt is undoubtedly one of the finest films of the year .


it does n't reach them , but the effort is gratefully received .


- i also wanted a little alien as a friend !


the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them .


for this sort of thing to work , we need agile performers , but the proficient , dull sorvino has no light touch , and rodan is out of his league .


juliette binoche 's sand is vivacious , but it 's hard to sense that powerhouse of 19th-century prose behind her childlike smile .


most of the storylines feel like time fillers between surf shots .


a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 .


woody allen has really found his groove these days .


the screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a `` dungeons and dragons '' fantasy with modern military weaponry ...


delirious fun .


what might have been acceptable on the printed page of iles ' book does not translate well to the screen .


ice cube is n't quite out of ripe screwball ideas , but friday after next spreads them pretty thin .


director david fincher and writer david koepp ca n't sustain it .


mckay shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .


what lifts the film high above run-of-the-filth gangster flicks is its refusal to recognise any of the signposts , as if discovering a way through to the bitter end without a map .


it gets the details of its time frame right but it completely misses its emotions .


entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .


what we have is a character faced with the possibility that her life is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance .


with a cast of a-list brit actors , it is worth searching out .


it 's refreshing that someone understands the need for the bad boy ; diesel , with his brawny frame and cool , composed delivery , fits the bill perfectly .


for all of its insights into the dream world of teen life , and its electronic expression through cyber culture , the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1\/2 - hour running time .


with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins .


clooney directs this film always keeping the balance between the fantastic and the believable ...


happy times maintains an appealing veneer without becoming too cute about it .


tv skit-com material fervently deposited on the big screen .


a compelling film .


the film 's unhurried pace is actually one of its strengths .


it certainly wo n't win any awards in the plot department but it sets out with no pretensions and delivers big time .


most of the things that made the original men in black such a pleasure are still there .


cold , sterile and lacking any color or warmth .


a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document -- its makers are n't removed and inquisitive enough for that .


... the movie feels stitched together from stock situations and characters from other movies .


with an obvious rapport with her actors and a striking style behind the camera , hélène angel is definitely a director to watch .


a deft , delightful mix of sulky teen drama and overcoming-obstacles sports-movie triumph .


men in black ii achieves ultimate insignificance -- it 's the sci-fi comedy spectacle as whiffle-ball epic .


there 's nothing to gain from watching they .


debut effort by `` project greenlight '' winner is sappy and amateurish .


your 20th outing shows off a lot of stamina and vitality , and get this , madonna 's cameo does n't suck !


an absurdist spider web .


a journey that is as difficult for the audience to take as it is for the protagonist -- yet it 's potentially just as rewarding .


rather less than the sum of its underventilated père-fils confrontations .


an entertaining documentary that freshly considers arguments the bard 's immortal plays were written by somebody else .


stay away .


contrasting the original ringu with the current americanized adaptation is akin to comparing the evil dead with evil dead ii


skip this dreck , rent animal house and go back to the source .


beautifully filmed and well acted ... but admittedly problematic in its narrative specifics .


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 .


the film 's highlight is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .


the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .


it 's sort of a 21st century morality play with a latino hip hop beat .


should n't have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie .


decent but dull .


get out your pooper-scoopers .


humor in i spy is so anemic .


at least it 's a fairly impressive debut from the director , charles stone iii .


try as you might to resist , if you 've got a place in your heart for smokey robinson , this movie will worm its way there .


if the film has a problem , its shortness disappoints : you want the story to go on and on .


there 's not a fresh idea at the core of this tale .


this film is so different from the apple and so striking that it can only encourage us to see samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success .


this is a movie where the most notable observation is how long you 've been sitting still .


technically and artistically inept .


... overly melodramatic ...


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


... stumbles over every cheap trick in the book trying to make the outrage come even easier .


in all the annals of the movies , few films have been this odd , inexplicable and unpleasant .


allen 's funniest and most likeable movie in years .


highly uneven and inconsistent ... margarita happy hour kinda resembles the el cheapo margaritas served within .


the effort is sincere and the results are honest , but the film is so bleak that it 's hardly watchable .


the scriptwriters are no less a menace to society than the film 's characters .


a big-budget\/all-star movie as unblinkingly pure as the hours is a distinct rarity , and an event .


an enormously entertaining movie , like nothing we 've ever seen before , and yet completely familiar .


even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .


deepa mehta provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world .


a cheap scam put together by some cynical creeps at revolution studios and imagine entertainment to make the suckers out there surrender $ 9 and 93 minutes of unrecoverable life .


not once does it come close to being exciting .


it 's a hellish , numbing experience to watch , and it does n't offer any insights that have n't been thoroughly debated in the media already , back in the dahmer heyday of the mid - '90s .


the film is hampered by its predictable plot and paper-thin supporting characters .


... standard guns versus martial arts cliche with little new added .


a noble failure .


much of what we see is horrible but it 's also undeniably exceedingly clever .


there 's not a comedic moment in this romantic comedy .


any rock pile will do for a set .


the hook is the drama within the drama , as an unsolved murder and an unresolved moral conflict jockey for the spotlight .


a muddle splashed with bloody beauty as vivid as any scorsese has ever given us .


marinated in clichés and mawkish dialogue .


this movie , a certain scene in particular , brought me uncomfortably close to losing my lunch .


in addition to gluing you to the edge of your seat , changing lanes is also a film of freshness , imagination and insight .


in the end , the film feels homogenized and a bit contrived , as if we 're looking back at a tattered and ugly past with rose-tinted glasses .


while the frequent allusions to gurus and doshas will strike some westerners as verging on mumbo-jumbo ... broad streaks of common sense emerge with unimpeachable clarity .


the movie is hardly a masterpiece , but it does mark ms. bullock 's best work in some time .


unless you come in to the film with a skateboard under your arm , you 're going to feel like you were n't invited to the party .


an energetic and engaging film that never pretends to be something it is n't .


a compelling story of musical passion against governmental odds .


a rumor of angels does n't just slip -- it avalanches into forced fuzziness .


mindless yet impressively lean spinoff of last summer 's bloated effects fest the mummy returns .


what 's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy .


stone seems to have a knack for wrapping the theater in a cold blanket of urban desperation .


` alice 's adventure through the looking glass and into zombie-land ' is filled with strange and wonderful creatures .


late marriage is an in-your-face family drama and black comedy that is filled with raw emotions conveying despair and love .


remember it .


thoroughly enjoyable .


begins like a docu-drama but builds its multi-character story with a flourish .


the best comedy concert movie i 've seen since cho 's previous concert comedy film , i 'm the one that i want , in 2000 .


you 'll end up moved .


i 've yet to find an actual vietnam war combat movie actually produced by either the north or south vietnamese , but at least now we 've got something pretty damn close .


while it 's all quite tasteful to look at , the attention process tends to do a little fleeing of its own .


a visual spectacle full of stunning images and effects .


it 's always fascinating to watch marker the essayist at work .


the film , despite the gratuitous cinematic distractions impressed upon it , is still good fun .


but even while his characters are acting horribly , he is always sympathetic .


narc is all menace and atmosphere .


there is simply not enough of interest onscreen to sustain its seventy-minute running time .


-lrb- stevens is -rrb- so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .


kurys seems intimidated by both her subject matter and the period trappings of this debut venture into the heritage business .


it dabbles all around , never gaining much momentum .


being unique does n't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .


that rare documentary that incorporates so much of human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film .


hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u.s. -- a major director is emerging in world cinema .


when -lrb- reno -rrb- lets her radical flag fly , taking angry potshots at george w. bush , henry kissinger , larry king , et al. , reno devolves into a laugh-free lecture .


never capitalizes on this concept and opts for the breezy and amateurish feel of an after school special on the subject of tolerance .


despite its visual virtuosity , ` naqoyqatsi ' is banal in its message and the choice of material to convey it .


while the filmmaking may be a bit disjointed , the subject matter is so fascinating that you wo n't care .


paul bettany is cool .


collateral damage is trash , but it earns extra points by acting as if it were n't .


it 's anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother\/daughter pair .


the one not-so-small problem with expecting is that the entire exercise has no real point .


when you 've got the wildly popular vin diesel in the equation , it adds up to big box office bucks all but guaranteed .


the problem with all of this : it 's not really funny .


one hour photo may seem disappointing in its generalities , but it 's the little nuances that perhaps had to escape from director mark romanek 's self-conscious scrutiny to happen , that finally get under your skin .


a modestly surprising movie .


it 's impossible to indulge the fanciful daydreams of janice beard -lrb- eileen walsh -rrb- when her real-life persona is so charmless and vacant .


as the movie traces mr. brown 's athletic exploits , it is impossible not to be awed by the power and grace of one of the greatest natural sportsmen of modern times .


to others , it will remind them that hong kong action cinema is still alive and kicking .


with tiny little jokes and nary an original idea , this sappy ethnic sleeper proves that not only blockbusters pollute the summer movie pool .


confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .


it 's a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism .


a heartening tale of small victories and enduring hope .


this franchise has not spawned a single good film .


a taut , sobering film .


ear-splitting exercise in formula crash-and-bash action .


just about everyone involved here seems to be coasting .


what sets this romantic comedy apart from most hollywood romantic comedies is its low-key way of tackling what seems like done-to-death material .


claims to sort the bad guys from the good , which is its essential problem .


surprisingly , the film is a hilarious adventure and i shamelessly enjoyed it .


woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the `` saving private ryan '' battle scenes before realizing steven spielberg got it right the first time ?


although it starts off so bad that you feel like running out screaming , it eventually works its way up to merely bad rather than painfully awful .


makes 98 minutes feel like three hours .


the entire point of a shaggy dog story , of course , is that it goes nowhere , and this is classic nowheresville in every sense .


shame on writer\/director vicente aranda for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull .


spinning a web of dazzling entertainment may be overstating it , but `` spider-man '' certainly delivers the goods .


like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .


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


... is funny in the way that makes you ache with sadness -lrb- the way chekhov is funny -rrb- , profound without ever being self-important , warm without ever succumbing to sentimentality .


paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .


the verdict : two bodies and hardly a laugh between them .


in xxx , diesel is that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep .


there is a strong directorial stamp on every frame of this stylish film that is able to visualize schizophrenia but is still confident enough to step back and look at the sick character with a sane eye .


it 's funny , as the old saying goes , because it 's true .


special p.o.v. camera mounts on bikes , skateboards , and motorcycles provide an intense experience when splashed across the immense imax screen .


taken outside the context of the current political climate -lrb- see : terrorists are more evil than ever ! -rrb-


a little weak -- and it is n't that funny .


writer-director ritchie reduces wertmuller 's social mores and politics to tiresome jargon .


a forceful drama of an alienated executive who re-invents himself .


one of those exceedingly rare films in which the talk alone is enough to keep us involved .


an almost unbearably morbid love story .


a mean-spirited film made by someone who surely read the catcher in the rye but clearly suffers from dyslexia


if they broke out into elaborate choreography , singing and finger snapping it might have held my attention , but as it stands i kept looking for the last exit from brooklyn .


there 's a sheer unbridled delight in the way the story unfurls ...


implicitly acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses , and for that reason it may be the most oddly honest hollywood document of all .


very well written and directed with brutal honesty and respect for its audience .


impostor is a step down for director gary fleder .


moving and vibrant .


jacquot 's strategy allows his cast the benefit of being able to give full performances ... while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself .


hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .


may puzzle his most ardent fans .


in other words , it 's badder than bad .


may prove to be -lrb- tsai 's -rrb- masterpiece .


one of the best , most understated performances of -lrb- jack nicholson 's -rrb- career .


after all , he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .


the master of disguise falls under the category of ` should have been a sketch on saturday night live . '


shows holmes has the screen presence to become a major-league leading lady , -lrb- but -rrb- the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that 's scarcely a surprise by the time it arrives .


but it was n't .


foster breathes life into a roll that could have otherwise been bland and run of the mill .


in old-fashioned screenwriting parlance , ms. shreve 's novel proved too difficult a text to ` lick , ' despite the efforts of a first-rate cast .


well-acted , well-directed and , for all its moodiness , not too pretentious .


a tired , predictable , bordering on offensive , waste of time , money and celluloid .


there 's no disguising this as one of the worst films of the summer .


frida is n't that much different from many a hollywood romance .


follows the original film virtually scene for scene and yet manages to bleed it almost completely dry of humor , verve and fun .


scott baio is turning in some delightful work on indie projects .


keenly observed and refreshingly natural , swimming gets the details right , from its promenade of barely clad bodies in myrtle beach , s.c. , to the adrenaline jolt of a sudden lunch rush at the diner .


like vardalos and corbett , who play their roles with vibrant charm , the film , directed by joel zwick , is heartfelt and hilarious in ways you ca n't fake .


a lame comedy .


deliberately and devotedly constructed , far from heaven is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .


morvern rocks .


a positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder of a shakespearean tragedy or a juicy soap opera .


when ` science fiction ' takes advantage of the fact that its intended audience has n't yet had much science , it does a disservice to the audience and to the genre .


illiterate , often inert sci-fi action thriller .


as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm .


a film of quiet power .


overwrought , melodramatic bodice-ripper .


zhuangzhuang creates delicate balance of style , text , and subtext that 's so simple and precise that anything discordant would topple the balance , but against all odds , nothing does .


because the film deliberately lacks irony , it has a genuine dramatic impact ; it plays like a powerful 1957 drama we 've somehow never seen before .


it 's a very valuable film ...


bad movie .


just when you think you are making sense of it , something happens that tells you there is no sense .


the rich performances by friel -- and especially williams , an american actress who becomes fully english -- round out the square edges .


the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic .


an undistinguished attempt to make a classic theater piece cinematic .


it 's pauly shore awful .


, `` they 're out there ! ''


a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female set .


what could have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination .


oh , james !


got some good , organic character work , lots of obvious political insights and little room for engaging , imaginative filmmaking in its nearly 2 1\/2 - hour , dissipated length .


an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .


an inept , tedious spoof of '70s kung fu pictures , it contains almost enough chuckles for a three-minute sketch , and no more .


a vivid , sometimes surreal , glimpse into the mysteries of human behavior .


it 's no accident that the accidental spy is a solid action pic that returns the martial arts master to top form .


a wild comedy that could only spring from the demented mind of the writer of being john malkovich .


it 's affecting , amusing , sad and reflective .


how can such a cold movie claim to express warmth and longing ?


the film did n't convince me that calvin jr. 's barbershop represents some sort of beacon of hope in the middle of chicago 's south side .


exciting documentary .


at its most basic , this cartoon adventure is that wind-in-the-hair exhilarating .


a winning piece of work filled with love for the movies of the 1960s .


her film is like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless .


the most excruciating 86 minutes one might sit through this summer that do not involve a dentist drill .


gives everyone something to shout about .


it 's a setup so easy it borders on facile , but keeping the film from cheap-shot mediocrity is its crack cast .


the chateau is a risky venture that never quite goes where you expect and often surprises you with unexpected comedy .


deliciously mean-spirited and wryly observant .


as dumb and cheesy as they may be , the cartoons look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy .


though clearly well-intentioned , this cross-cultural soap opera is painfully formulaic and stilted .


jones has tackled a meaty subject and drawn engaging characters while peppering the pages with memorable zingers .


reassuring , retro uplifter .


the most brilliant work in this genre since the 1984 uncut version of sergio leone 's flawed but staggering once upon a time in america .


there are deeply religious and spiritual people in this world who would argue that entering a church , synagogue or temple does n't mean you have to check your brain at the door .


this is unusual , food-for-thought cinema that 's as entertaining as it is instructive .


much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart .


a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .


what begins brightly gets bogged down over 140 minutes .


a painfully slow cliche-ridden film filled with more holes than clyde barrow 's car .


the best of the pierce brosnan james bond films to date .


drumline is -- the mere suggestion , albeit a visually compelling one , of a fully realized story .


to be influenced chiefly by humanity 's greatest shame , reality shows -- reality shows for god 's sake !


take away the controversy , and it 's not much more watchable than a mexican soap opera .


the audacity to view one of shakespeare 's better known tragedies as a dark comedy is , by itself , deserving of discussion .


the success of undercover brother is found in its ability to spoof both black and white stereotypes equally .


too damn weird to pass up , and for the blacklight crowd , way cheaper -lrb- and better -rrb- than pink floyd tickets .


you expect more from director michael apted -lrb- enigma -rrb- and screenwriter nicholas kazan -lrb- reversal of fortune -rrb- than this cliche pileup .


director jay russell weighs down his capricious fairy-tale with heavy sentiment and lightweight meaning .


a good-natured ensemble comedy that tries hard to make the most of a bumper cast , but never quite gets off the ground .


a moving and solidly entertaining comedy\/drama that should bolster director and co-writer juan josé campanella 's reputation in the united states .


everything is off .


working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .


pretend like your sat scores are below 120 and you might not notice the flaws .


mordantly funny and intimately knowing ...


i ca n't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops .


it 's tommy 's job to clean the peep booths surrounding her , and after viewing this one , you 'll feel like mopping up , too .


each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteen conversations about one thing , for all its generosity and optimism , never resorts to easy feel-good sentiments .


there 's ... an underlying old world sexism to monday morning that undercuts its charm .


what a great shame that such a talented director as chen kaige has chosen to make his english-language debut with a film so poorly plotted and scripted .


i liked a lot of the smaller scenes .


some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .


beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart .


nothing can detract from the affection of that moral favorite : friends will be friends through thick and thin .


bring tissues .


an enthralling , entertaining feature .


as a director , paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .


well-made but mush-hearted .


labute masterfully balances both traditional or modern stories together in a manner that one never overwhelms the other .


assured , glossy and shot through with brittle desperation .


a damn fine and a truly distinctive and a deeply pertinent film .


filmmaker stacy peralta has a flashy editing style that does n't always jell with sean penn 's monotone narration , but he respects the material without sentimentalizing it .


despite its promising cast of characters , big trouble remains a loosely tied series of vignettes which only prove that ` zany ' does n't necessarily mean ` funny . '


a surprisingly sweet and gentle comedy .


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


although what time offers tsai 's usual style and themes , it has a more colorful , more playful tone than his other films .


a dull , inconsistent , dishonest female bonding picture .


a must-see for fans of thoughtful war films and those interested in the sights and sounds of battle .


with an unflappable air of decadent urbanity , everett remains a perfect wildean actor , and a relaxed firth displays impeccable comic skill .


by no means a slam-dunk and sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act , it still comes off as a touching , transcendent love story .


it has that rare quality of being able to creep the living hell out of you ...


i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale -- you wo n't be sorry !


what goes on for the 110 minutes of `` panic room '' is a battle of witlessness between a not-so-bright mother and daughter and an even less capable trio of criminals .


in comparison to his earlier films it seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little .


the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .


the master of disguise may have made a great saturday night live sketch , but a great movie it is not .


if we 're to slap protagonist genevieve leplouff because she 's french , do we have that same option to slap her creators because they 're clueless and inept ?


i 've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .


i 've seen some bad singer-turned actors , but lil bow wow takes the cake .


`` nicholas nickleby '' is a perfect family film to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year .


it wo n't hold up over the long haul , but in the moment , finch 's tale provides the forgettable pleasures of a saturday matinee .


was that movie nothing more than a tepid exercise in trotting out a formula that worked five years ago but has since lost its fizz ?


how good this film might be , depends if you believe that the shocking conclusion is too much of a plunge or not .


a cellophane-pop remake of the punk classic ladies and gentlemen , the fabulous stains ... crossroads is never much worse than bland or better than inconsequential .


pretty good little movie .


if nothing else , `` rollerball '' 2002 may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j.


angel presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale .


nemesis suffers from a paunchy midsection , several plodding action sequences and a wickedly undramatic central theme .


even when he 's not at his most critically insightful , godard can still be smarter than any 50 other filmmakers still at work .


the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and in the way the ivan character accepts the news of his illness so quickly but still finds himself unable to react .


-lrb- t -rrb- he film is never sure to make a clear point -- even if it seeks to rely on an ambiguous presentation .


this movie is about the worst thing chan has done in the united states .


amazing !


the ya-ya 's have many secrets and one is - the books are better .


the plot 's contrivances are uncomfortably strained .


a thoroughly entertaining comedy that uses grant 's own twist of acidity to prevent itself from succumbing to its own bathos .


kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor .


-lrb- allen 's -rrb- best works understand why snobbery is a better satiric target than middle-america diversions could ever be .


the stars may be college kids , but the subject matter is as adult as you can get : the temptations of the flesh are unleashed by a slightly crazed , overtly determined young woman and a one-night swim turns into an ocean of trouble .


we 've liked klein 's other work but rollerball left us cold .


both a grand tour through 300 hundred years of russian cultural identity and a stunning technical achievement .


a markedly inactive film , city is conversational bordering on confessional .


clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .


soderbergh , like kubrick before him , may not touch the planet 's skin , but understands the workings of its spirit .


there is no denying the power of polanski 's film ...


to be oblivious to the existence of this film would be very sweet indeed .


though it goes further than both , anyone who has seen the hunger or cat people will find little new here , but a tasty performance from vincent gallo lifts this tale of cannibal lust above the ordinary .


the beautifully choreographed kitchen ballet is simple but absorbing .


from the opening strains of the average white band 's `` pick up the pieces '' , you can feel the love .


empire ca n't make up its mind whether it wants to be a gangster flick or an art film .


the result is so tame that even slightly wised-up kids would quickly change the channel .


a penetrating , potent exploration of sanctimony , self-awareness , self-hatred and self-determination .


thirteen conversations about one thing lays out a narrative puzzle that interweaves individual stories , and , like a mobius strip , elliptically loops back to where it began .


director peter kosminsky gives these women a forum to demonstrate their acting ` chops ' and they take full advantage .


storytelling feels slight .


witty , vibrant , and intelligent .


despite its shortcomings , girls ca n't swim represents an engaging and intimate first feature by a talented director to watch , and it 's a worthy entry in the french coming-of-age genre .


interesting and thoroughly unfaithful version of carmen


thanks to a small star with big heart , this family film sequel is plenty of fun for all .


for most of the distance the picture provides a satisfyingly unsettling ride into the dark places of our national psyche .


it 's a smart , funny look at an arcane area of popular culture , and if it is n't entirely persuasive , it does give exposure to some talented performers .


we get the comedy we settle for .


eerily accurate depiction of depression .


schrader aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness .


feels like the work of someone who may indeed have finally aged past his prime ... and , perhaps more than he realizes , just wants to be liked by the people who can still give him work .


extraordinary debut from josh koury .


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


cannon 's confidence and laid-back good spirits are , with the drumming routines , among the film 's saving graces .


just like a splendid meal , red dragon satisfies -- from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation .


feels more like a rejected x-files episode than a credible account of a puzzling real-life happening .


features what is surely the funniest and most accurate depiction of writer 's block ever .


whenever it threatens to get bogged down in earnest dramaturgy , a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us .


surprisingly powerful and universal .


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


even murphy 's expert comic timing and famed charisma ca n't rescue this effort .


a captivating coming-of-age story that may also be the first narrative film to be truly informed by the wireless age .


an intelligent , multi-layered and profoundly humanist -lrb- not to mention gently political -rrb- meditation on the values of knowledge , education , and the affects of cultural and geographical displacement .


if hill is n't quite his generation 's don siegel -lrb- or robert aldrich -rrb- , it 's because there 's no discernible feeling beneath the chest hair ; it 's all bluster and cliché .


and neither do cliches , no matter how ` inside ' they are .


strictly a ` guy 's film ' in the worst sense of the expression .


a lightweight , uneven action comedy that freely mingles french , japanese and hollywood cultures .


irwin and his director never come up with an adequate reason why we should pay money for what we can get on television for free .


can you bear the laughter ?


`` abandon '' will leave you wanting to abandon the theater .


the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .


not as good as the full monty , but a really strong second effort .


asks what truth can be discerned from non-firsthand experience , and specifically questions cinema 's capability for recording truth .


audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but otherwise the production is suitably elegant .


... a solid , unassuming drama .


a formula family tearjerker told with a heavy irish brogue ... accentuating , rather than muting , the plot 's saccharine thrust .


it 's fairly solid -- not to mention well edited so that it certainly does n't feel like a film that strays past the two and a half mark .


the holiday message of the 37-minute santa vs. the snowman leaves a lot to be desired .


a vile , incoherent mess ... a scummy ripoff of david cronenberg 's brilliant ` videodrome . '


discursive but oddly riveting documentary .


what 's most offensive is n't the waste of a good cast , but the film 's denial of sincere grief and mourning in favor of bogus spiritualism .


like a medium-grade network sitcom -- mostly inoffensive , fitfully amusing , but ultimately so weightless that a decent draft in the auditorium might blow it off the screen .


a little melodramatic , but with enough hope to keep you engaged .


not only is it a charming , funny and beautifully crafted import , it uses very little dialogue , making it relatively effortless to read and follow the action at the same time .


just about all of the film is confusing on one level or another , making ararat far more demanding than it needs to be .


though it lacks the utter authority of a genre gem , there 's a certain robustness to this engaging mix of love and bloodletting .


it 's touching and tender and proves that even in sorrow you can find humor .


collapses after 30 minutes into a slap-happy series of adolescent violence .


a spiffy animated feature about an unruly adolescent boy who is yearning for adventure and a chance to prove his worth .


payne constructs a hilarious ode to middle america and middle age with this unlikely odyssey , featuring a pathetic , endearing hero who is all too human .


a surprisingly flat retread , hobbled by half-baked setups and sluggish pacing .


fierce , glaring and unforgettable .


the film does n't show enough of the creative process or even of what was created for the non-fan to figure out what makes wilco a big deal .


there are laughs aplenty , and , as a bonus , viewers do n't have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies .


a lot more dimensional and complex than its sunny disposition would lead you to believe .


miller has crafted an intriguing story of maternal instincts and misguided acts of affection .


sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .


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


some movies suck you in despite their flaws , and heaven is one such beast .


with a `` spy kids '' sequel opening next week , why bother with a contemptible imitator starring a `` snl '' has-been acting like an 8-year-old channeling roberto benigni ?


muddled , melodramatic paranormal romance is an all-time low for kevin costner .


in a summer of clones , harvard man is something rare and riveting : a wild ride that relies on more than special effects .


so original in its base concept that you can not help but get caught up .


but even then , i 'd recommend waiting for dvd and just skipping straight to her scenes .


this new zealand coming-of-age movie is n't really about anything .


quitting offers piercing domestic drama with spikes of sly humor .


mama africa pretty much delivers on that promise .


we hate -lrb- madonna -rrb- within the film 's first five minutes , and she lacks the skill or presence to regain any ground .


much smarter and more attentive than it first sets out to be .


one regards reign of fire with awe .


it 's tough to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo .


the story is also as unoriginal as they come , already having been recycled more times than i 'd care to count .


you 've already seen city by the sea under a variety of titles , but it 's worth yet another visit .


in one scene , we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and meat loaf explodes .


is the kind of movie that 's critic-proof , simply because it aims so low .


to the civilized mind , a movie like ballistic : ecks vs. sever is more of an ordeal than an amusement .


a different movie -- sometimes tedious -- by a director many viewers would like to skip but film buffs should get to know .


my precious new star wars movie is a lumbering , wheezy drag ...


a dull , simple-minded and stereotypical tale of drugs , death and mind-numbing indifference on the inner-city streets .


throw smoochy from the train !


an alternately raucous and sappy ethnic sitcom ... you 'd be wise to send your regrets .


none of this is half as moving as the filmmakers seem to think .


the heedless impetuousness of youth is on full , irritating display in -lrb- this -rrb- meandering and pointless french coming-of-age import from writer-director anne-sophie birot .


a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the point of distraction .


irwin is so earnest that it 's hard to resist his pleas to spare wildlife and respect their environs .


a miraculous movie , i 'm going home is so slight , yet overflows with wisdom and emotion .


the story 's pathetic and the gags are puerile . .


showtime is n't particularly assaultive , but it can still make you feel that you never want to see another car chase , explosion or gunfight again .


by the final whistle you 're convinced that this mean machine was a decent tv outing that just does n't have big screen magic .


first , for a movie that tries to be smart , it 's kinda dumb .


and people make fun of me for liking showgirls .


... the story simply putters along looking for astute observations and coming up blank .


it has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care , but animated by an energy that puts the dutiful efforts of more disciplined grade-grubbers to shame .


if you 're not deeply touched by this movie , check your pulse .


whether it 's the worst movie of 2002 , i ca n't say for sure : memories of rollerball have faded , and i skipped country bears .


children , christian or otherwise , deserve to hear the full story of jonah 's despair -- in all its agonizing , catch-22 glory -- even if they spend years trying to comprehend it .


muccino , who directed from his own screenplay , is a canny crowd pleaser , and the last kiss ... provides more than enough sentimental catharsis for a satisfying evening at the multiplex .


has a solid emotional impact .


dogtown is hollow , self-indulgent , and - worst of all - boring .


the sweetest thing leaves a bitter taste .


one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


has enough wit , energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they 're not interested .


lawrence should stick to his day job .


by turns numbingly dull-witted and disquietingly creepy .


buy is an accomplished actress , and this is a big , juicy role .


maid in manhattan proves that it 's easier to change the sheets than to change hackneyed concepts when it comes to dreaming up romantic comedies .


thought-provoking and stylish , if also somewhat hermetic .


a cleverly crafted but ultimately hollow mockumentary .


jacquot has filmed the opera exactly as the libretto directs , ideally capturing the opera 's drama and lyricism .


the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten .


from a deceptively simple premise , this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .


unexpected , and often contradictory , truths emerge .


has the capability of effecting change and inspiring hope .


even if you 're an elvis person , you wo n't find anything to get excited about on this dvd .


together writer-director danny verete 's three tales comprise a powerful and reasonably fulfilling gestalt .


writer\/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable .


goldbacher draws on an elegant visual sense and a talent for easy , seductive pacing ... but she and writing partner laurence coriat do n't manage an equally assured narrative coinage .


the script is smart and dark - hallelujah for small favors .


even though we know the outcome , the seesawing of the general 's fate in the arguments of competing lawyers has the stomach-knotting suspense of a legal thriller , while the testimony of witnesses lends the film a resonant undertone of tragedy .


you 're not merely watching history , you 're engulfed by it .


i am more offended by his lack of faith in his audience than by anything on display here .


we 're drawn in by the dark luster .


the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and the sparse instances of humor meant to shine through the gloomy film noir veil .


it 's not a great monster movie .


it 's a lovely , sad dance highlighted by kwan 's unique directing style .


it 's so downbeat and nearly humorless that it becomes a chore to sit through -- despite some first-rate performances by its lead .


the all-french cast is marveilleux .


if the title is a jeopardy question , then the answer might be `` how does steven seagal come across these days ? ''


the emperor 's club , ruthless in its own placid way , finds one of our most conservative and hidebound movie-making traditions and gives it new texture , new relevance , new reality .


that storytelling has value can not be denied .


the whole thing comes off like a particularly amateurish episode of bewitched that takes place during spring break .


it 's hard to believe that something so short could be so flabby .


it establishes its ominous mood and tension swiftly , and if the suspense never rises to a higher level , it is nevertheless maintained throughout .


solondz may well be the only one laughing at his own joke


deep intelligence and a warm , enveloping affection breathe out of every frame .


swinging , the film makes it seem , is not a hobby that attracts the young and fit .


there 's a reason why halftime is only fifteen minutes long .


winds up being both revelatory and narcissistic , achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars .


in its own floundering way , it gets to you .


behind the glitz , hollywood is sordid and disgusting .


this mild-mannered farce , directed by one of its writers , john c. walsh , is corny in a way that bespeaks an expiration date passed a long time ago .


with very little to add beyond the dark visions already relayed by superb recent predecessors like swimming with sharks and the player , this latest skewering ... may put off insiders and outsiders alike .


significantly better than its 2002 children 's - movie competition .


this is an elegantly balanced movie -- every member of the ensemble has something fascinating to do -- that does n't reveal even a hint of artifice .


cox creates a fluid and mesmerizing sequence of images to match the words of nijinsky 's diaries .


with the exception of mccoist , the players do n't have a clue on the park .


no amount of good acting is enough to save oleander 's uninspired story .


everyone 's to blame here .


evokes the 19th century with a subtlety that is an object lesson in period filmmaking .


an odd , haphazard , and inconsequential romantic comedy .


... another example of how sandler is losing his touch .


an awful lot like one of -lrb- spears ' -rrb- music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .


stale and clichéd to a fault .


... built on the premise that middle-class arkansas consists of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids .


zellweger 's whiny pouty-lipped poof faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a


holofcener rejects patent solutions to dramatize life 's messiness from inside out , in all its strange quirks .


i still want my money back .


no one involved , save dash , shows the slightest aptitude for acting , and the script , credited to director abdul malik abbott and ernest ` tron ' anderson , seems entirely improvised .


it 's the kind of effectively creepy-scary thriller that has you fixating on a far corner of the screen at times because your nerves just ca n't take it any more .


narratively , trouble every day is a plodding mess .


well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances of the grieving process .


if there 's no art here , it 's still a good yarn -- which is nothing to sneeze at these days .


the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge .


its sheer dynamism is infectious .


the film is reasonably entertaining , though it begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy .


simultaneously heart-breaking and very funny , the last kiss is really all about performances .


start reading your scripts before signing that dotted line .


jackson and co have brought back the value and respect for the term epic cinema .


a pathetically inane and unimaginative cross between xxx and vertical limit .


max pokes , provokes , takes expressionistic license and hits a nerve ... as far as art is concerned , it 's mission accomplished .


the power of shanghai ghetto , a documentary by dana janklowicz-mann and amir mann , rests in the voices of men and women , now in their 70s , who lived there in the 1940s .


` punch-drunk love is so convinced of its own brilliance that , if it were a person , you 'd want to smash its face in . '


a sentimental mess that never rings true .


a fascinating case study of flower-power liberation -- and the price that was paid for it .


-lrb- janey -rrb- forgets about her other obligations , leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies .


the only problem is that , by the end , no one in the audience or the film seems to really care .


a film without surprise geared toward maximum comfort and familiarity .


... although this idea is `` new '' the results are tired .


remarkable for its excellent storytelling , its economical , compressed characterisations and for its profound humanity , it 's an adventure story and history lesson all in one .


mike white 's deft combination of serious subject matter and dark , funny humor make `` the good girl '' a film worth watching .


a film that will be best appreciated by those willing to endure its extremely languorous rhythms , waiting for happiness is ultimately thoughtful without having much dramatic impact .


this may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar .


it 's a treat -- a delightful , witty , improbable romantic comedy with a zippy jazzy score ... grant and bullock make it look as though they are having so much fun .


the trouble is , its filmmakers run out of clever ideas and visual gags about halfway through .


even when crush departs from the 4w formula ... it feels like a glossy rehash .


nair does n't treat the issues lightly .


a compelling motion picture that illustrates an american tragedy .


it 's that painful .


smart , sassy interpretation of the oscar wilde play .


there 's nothing more satisfying during a summer of event movies than a spy thriller like the bourne identity that 's packed with just as much intelligence as action .


though writer\/director bart freundlich 's film ultimately becomes a simplistic story about a dysfunctional parent-child relationship , it has some special qualities and the soulful gravity of crudup 's anchoring performance .


the early and middle passages are surprising in how much they engage and even touch us .


-lrb- cho 's face is -rrb- an amazing slapstick instrument , creating a scrapbook of living mug shots .


if ever such a dependable concept was botched in execution , this is it .


his -lrb- nelson 's -rrb- screenplay needs some serious re-working to show more of the dilemma , rather than have his characters stage shouting matches about it .


terminally brain dead production .


-lrb- grant -rrb- goes beyond his usual fluttering and stammering and captures the soul of a man in pain who gradually comes to recognize it and deal with it .


the movie suffers from two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected .


bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .


while most films these days are about nothing , this film seems to be about everything that 's plaguing the human spirit in a relentlessly globalizing world .


one senses in world traveler and in his earlier film that freundlich bears a grievous but obscure complaint against fathers , and circles it obsessively , without making contact .


well-meant but unoriginal .


it 's an effort to watch this movie , but it eventually pays off and is effective if you stick with it .


it 's burns ' visuals , characters and his punchy dialogue , not his plot , that carry waydowntown .