the sword fighting is well done and auteuil is a goofy pleasure .


the only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie .


munch 's screenplay is tenderly observant of his characters .


it has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references .


the country bears wastes an exceptionally good idea .


a film of epic scale with an intimate feeling , a saga of the ups and downs of friendships .


the movie would seem less of a trifle if ms. sugarman followed through on her defiance of the saccharine .


mention `` solaris '' five years from now and i 'm sure those who saw it will have an opinion to share .


that ` alabama ' manages to be pleasant in spite of its predictability and occasional slowness is due primarily to the perkiness of witherspoon -lrb- who is always a joy to watch , even when her material is not first-rate -rrb- ...


pacino is the best he 's been in years and keener is marvelous .


much of the cast is stiff or just plain bad .


it 's excessively quirky and a little underconfident in its delivery , but otherwise this is the best ` old neighborhood ' project since christopher walken kinda romanced cyndi lauper in the opportunists .


busy urban comedy is clearly not zhang 's forte , his directorial touch is neither light nor magical enough to bring off this kind of whimsy .


imagine the cleanflicks version of ` love story , ' with ali macgraw 's profanities replaced by romance-novel platitudes .


extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten .


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


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


such a fine idea for a film , and such a stultifying , lifeless execution .


return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market .


writer-director david jacobson and his star , jeremy renner , have made a remarkable film that explores the monster 's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted .


drama of temptation , salvation and good intentions is a thoughtful examination of faith , love and power .


oddly compelling .


feels at times like a giant commercial for universal studios , where much of the action takes place .


a small fortune in salaries and stunt cars might have been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours -lrb- and , for that matter , shrek -rrb- .


strange , funny , twisted , brilliant and macabre .


shanghai ghetto , much stranger than any fiction , brings this unknown slice of history affectingly to life .


a movie that will thrill you , touch you and make you laugh as well .


though overall an overwhelmingly positive portrayal , the film does n't ignore the more problematic aspects of brown 's life .


the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .


cool gadgets and creatures keep this fresh .


this is very much of a mixed bag , with enough negatives to outweigh the positives .


ringu is a disaster of a story , full of holes and completely lacking in chills .


while maintaining the appearance of clinical objectivity , this sad , occasionally horrifying but often inspiring film is among wiseman 's warmest .


but it would be better to wait for the video .


dreary tale of middle-class angst


though the aboriginal aspect lends the ending an extraordinary poignancy , and the story itself could be played out in any working class community in the nation .


the byplay and bickering between the now spy-savvy siblings , carmen -lrb- vega -rrb- and juni -lrb- sabara -rrb- cortez , anchor the film in a very real and amusing give-and-take .


it 's sweet , funny , charming , and completely delightful .


seen in that light , moonlight mile should strike a nerve in many .


to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .


the movie 's something-borrowed construction feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story .


none of birthday girl 's calculated events take us by surprise ...


there are many definitions of ` time waster ' but this movie must surely be one of them .


i can easily imagine benigni 's pinocchio becoming a christmas perennial .


this is rote drivel aimed at mom and dad 's wallet .


k 19 stays afloat as decent drama\/action flick


what more can be expected from a college comedy that 's target audience has n't graduated from junior high school ?


it 's quite diverting nonsense .


aggravating and tedious .


i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .


a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation .


more precious than perspicacious


rarely does such high-profile talent serve such literate material .


a moving picture that does not move .


this ludicrous film is predictable at every turn .


just another combination of bad animation and mindless violence ... lacking the slightest bit of wit or charm .


-lrb- fiji diver rusi vulakoro and the married couple howard and michelle hall -rrb- show us the world they love and make us love it , too .


a fanciful drama about napoleon 's last years and his surprising discovery of love and humility .


the superior plotline is n't quite enough to drag along the dead -lrb- water -rrb- weight of the other .


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


spy kids 2 also happens to be that rarity among sequels : it actually improves upon the original hit movie .


speaks eloquently about the symbiotic relationship between art and life .


audiard successfully maintains suspense on different levels throughout a film that is both gripping and compelling .


an unsettling , memorable cinematic experience that does its predecessors proud .


its almost too-spectacular coastal setting distracts slightly from an eccentric and good-naturedly aimless story .


a compassionate , moving portrait of an american -lrb- and an america -rrb- always reaching for something just outside his grasp .


-lrb- stephen -rrb- earnhart 's film is more about the optimism of a group of people who are struggling to give themselves a better lot in life than the ones they currently have .


adaptation is intricately constructed and in a strange way nails all of orlean 's themes without being a true adaptation of her book .


if you want a movie time trip , the 1960 version is a far smoother ride .


an older cad instructs a younger lad in zen and the art of getting laid in this prickly indie comedy of manners and misanthropy .


with amazing finesse , the film shadows heidi 's trip back to vietnam and the city where her mother , mai thi kim , still lives .


an occasionally interesting but mostly repetitive look at a slice of counterculture that might be best forgotten .


it 's an 88-minute highlight reel that 's 86 minutes too long .


-lrb- jeff 's -rrb- gorgeous , fluid compositions , underlined by neil finn and edmund mcwilliams 's melancholy music , are charged with metaphor , but rarely easy , obvious or self-indulgent .


it 's a smart , solid , kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn .


the film is predictable in the reassuring manner of a beautifully sung holiday carol .


the heat of the moment prevails .


a beautifully tooled action thriller about love and terrorism in korea .


return to never land is much more p.c. than the original version -lrb- no more racist portraits of indians , for instance -rrb- , but the excitement is missing .


the only thing `` swept away '' is the one hour and thirty-three minutes spent watching this waste of time .


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .


while the importance of being earnest offers opportunities for occasional smiles and chuckles , it does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances .


contrived , awkward and filled with unintended laughs , the film shows signs that someone other than the director got into the editing room and tried to improve things by making the movie go faster .


broomfield reminds us that beneath the hype , the celebrity , the high life , the conspiracies and the mystery there were once a couple of bright young men -- promising , talented , charismatic and tragically doomed .


offers a persuasive look at a defeated but defiant nation in flux .


muccino seems to be exploring the idea of why human beings long for what they do n't have , and how this gets us in trouble .


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


my wife is an actress has its moments in looking at the comic effects of jealousy .


a riveting documentary .


while i ca n't say it 's on par with the first one , stuart little 2 is a light , fun cheese puff of a movie .


so boring that even its target audience talked all the way through it .


sad to say -- it accurately reflects the rage and alienation that fuels the self-destructiveness of many young people .


it 's neither as sappy as big daddy nor as anarchic as happy gilmore or the waterboy , but it has its moments .


great character interaction .


louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman 's script stumbles over a late-inning twist that just does n't make sense .


even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .


a meatier deeper beginning and\/or ending would have easily tipped this film into the `` a '' range , as is , it 's a very very strong `` b + . ''


funny in a sick , twisted sort of way .


trapped wo n't score points for political correctness , but it may cause parents a few sleepless hours -- a sign of its effectiveness .


nicks refuses to let slackers be seen as just another teen movie , which means he can be forgiven for frequently pandering to fans of the gross-out comedy .


but though he only scratches the surface , at least he provides a strong itch to explore more .


there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending .


the film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises .


birthday girl walks a tricky tightrope between being wickedly funny and just plain wicked .


potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .


does n't add up to much .


while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .


the movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension .


despite its flaws , crazy as hell marks an encouraging new direction for la salle .


this film is too busy hitting all of its assigned marks to take on any life of its own .


one of the most plain , unimaginative romantic comedies i 've ever seen .


it 's tough to watch , but it 's a fantastic movie .


the movie is well crafted , and well executed .


it all comes down to whether you can tolerate leon barlow .


90 punitive minutes of eardrum-dicing gunplay , screeching-metal smashups , and flaccid odd-couple sniping .


moore provides an invaluable service by sparking debate and encouraging thought .


a big fat pain .


this is a movie filled with unlikable , spiteful idiots ; whether or not their friendship is salvaged makes no difference in the least .


as giddy and whimsical and relevant today as it was 270 years ago .


while some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone , soldiers ultimately achieves its main strategic objective : dramatizing the human cost of the conflict that came to define a generation .


it 's a pedestrian , flat drama that screams out ` amateur ' in almost every frame .


hip-hop rarely comes alive as its own fire-breathing entity in this picture .


parts seem like they were lifted from terry gilliam 's subconscious , pressed through kafka 's meat grinder and into buñuel 's casings


it uses some of the figures from the real-life story to portray themselves in the film .


for casual moviegoers who stumble into rules expecting a slice of american pie hijinks starring the kid from dawson 's creek , they 'll probably run out screaming .


it could have been something special , but two things drag it down to mediocrity -- director clare peploe 's misunderstanding of marivaux 's rhythms , and mira sorvino 's limitations as a classical actress .


affable if not timeless , like mike raises some worthwhile themes while delivering a wholesome fantasy for kids .


slap her - she 's not funny !


everything 's serious , poetic , earnest and -- sadly -- dull .


see clockstoppers if you have nothing better to do with 94 minutes .


if you 're not fans of the adventues of steve and terri , you should avoid this like the dreaded king brown snake .


a psychic journey deep into the very fabric of iranian ... life .


an incredibly thoughtful , deeply meditative picture that neatly and effectively captures the debilitating grief felt in the immediate aftermath of the terrorist attacks .


love liza is a festival film that would have been better off staying on the festival circuit .


this is an extraordinary film , not least because it is japanese and yet feels universal .


gaghan ... has thrown every suspenseful cliché in the book at this nonsensical story .


deuces wild is an encyclopedia of cliches that shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale without cribbing any of their intelligence .


it 's still terrible !


it 's in the action scenes that things fall apart .


if ayurveda can help us return to a sane regimen of eating , sleeping and stress-reducing contemplation , it is clearly a good thing .


will certainly appeal to asian cult cinema fans and asiaphiles interested to see what all the fuss is about .


they 're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood .


while dutifully pulling on heartstrings , directors dean deblois and chris sanders valiantly keep punching up the mix .


davis is funny , charming and quirky in her feature film acting debut as amy .


heartwarming and gently comic even as the film breaks your heart .


scherfig , the writer-director , has made a film so unabashedly hopeful that it actually makes the heart soar .


barry convinces us he 's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful .


an unsuccessful attempt at a movie of ideas .


this strenuously unfunny showtime deserves the hook .


stands as one of the year 's most intriguing movie experiences , letting its imagery speak for it while it forces you to ponder anew what a movie can be .


this story of unrequited love does n't sustain interest beyond the first half-hour .


it 's a stale , overused cocktail using the same olives since 1962 as garnish .


in imax in short , it 's just as wonderful on the big screen .


sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler .


i 'd watch these two together again in a new york minute .


it 's a film that 's destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics .


continually challenges perceptions of guilt and innocence , of good guys and bad , and asks us whether a noble end can justify evil means .


he 's a better actor than a standup comedian .


so beautifully acted and directed , it 's clear that washington most certainly has a new career ahead of him if he so chooses .


he 's just a sad aristocrat in tattered finery , and the film seems as deflated as he does .


insomnia is one of the year 's best films and pacino gives one of his most daring , and complicated , performances .


it 's so badly made on every level that i 'm actually having a hard time believing people were paid to make it .


while not quite `` shrek '' or `` monsters , inc. '' , it 's not too bad .


a slight but sweet film .


my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it .


one of these days hollywood will come up with an original idea for a teen movie , but until then there 's always these rehashes to feed to the younger generations .


an appalling ` ace ventura ' rip-off that somehow manages to bring together kevin pollak , former wrestler chyna and dolly parton .


a smart , arch and rather cold-blooded comedy .


it finds no way to entertain or inspire its viewers .


a powerful , chilling , and affecting study of one man 's dying fall .


the satire is unfocused , while the story goes nowhere .


the son of the bride 's humour is born out of an engaging storyline , which also is n't embarrassed to make you reach for the tissues .


an uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection .


an uplifting , near-masterpiece .


the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence .


unlike lots of hollywood fluff , this has layered , well-developed characters and some surprises .


in his role of observer of the scene , lawrence sounds whiny and defensive , as if his life-altering experiences made him bitter and less mature .


boasts eye-catching art direction but has a forcefully quirky tone that quickly wears out its limited welcome .


pete 's screenplay manages to find that real natural , even-flowing tone that few movies are able to accomplish .


exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable .


the humor and humanity of monsoon wedding are in perfect balance .


the gorgeously elaborate continuation of `` the lord of the rings '' trilogy is so huge that a column of words can not adequately describe co-writer\/director peter jackson 's expanded vision of j.r.r. tolkien 's middle-earth .


to paraphrase a line from another dickens ' novel , nicholas nickleby is too much like a fragment of an underdone potato .


lacks depth .


it 's as if solondz had two ideas for two movies , could n't really figure out how to flesh either out , so he just slopped ` em together here .


in the end , tuck everlasting falls victim to that everlasting conundrum experienced by every human who ever lived : too much to do , too little time to do it in .


this slight premise ... works because of the ideal casting of the masterful british actor ian holm as the aged napoleon .


rarely has sex on screen been so aggressively anti-erotic .


straightforward and old-fashioned in the best possible senses of both those words , possession is a movie that puts itself squarely in the service of the lovers who inhabit it .


though the story ... is hackneyed , the characters have a freshness and modesty that transcends their predicament .


it 's light on the chills and heavy on the atmospheric weirdness , and there are moments of jaw-droppingly odd behavior -- yet i found it weirdly appealing .


the first tunisian film i have ever seen , and it 's also probably the most good-hearted yet sensual entertainment i 'm likely to see all year .


anybody who enjoys quirky , fun , popcorn movies with a touch of silliness and a little bloodshed .


as the dominant christine , sylvie testud is icily brilliant .


the makers of mothman prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad .


-lrb- a -rrb- devastatingly powerful and astonishingly vivid holocaust drama .


dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


it works well enough , since the thrills pop up frequently , and the dispatching of the cast is as often imaginative as it is gory .


-lrb- hayek -rrb- throws herself into this dream hispanic role with a teeth-clenching gusto , she strikes a potent chemistry with molina and she gradually makes us believe she is kahlo .


the film 's needlessly opaque intro takes its doe-eyed crudup out of pre-9 \/ 11 new york and onto a cross-country road trip of the homeric kind .


the biggest problem with satin rouge is lilia herself .


the thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes -lrb- of which they 'll get plenty -rrb- fills me with revulsion .


captivates and shows how a skillful filmmaker can impart a message without bludgeoning the audience over the head .


jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar .


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


one suspects that craven endorses they simply because this movie makes his own look much better by comparison .


the film 's final hour , where nearly all the previous unseen material resides , is unconvincing soap opera that tornatore was right to cut .


like its bizarre heroine , it irrigates our souls .


savvy director robert j. siegel and his co-writers keep the story subtle and us in suspense .


puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .


the appeal of the vulgar , sexist , racist humour went over my head or -- considering just how low brow it is -- perhaps it snuck under my feet .


has the disjointed feel of a bunch of strung-together tv episodes .


while broomfield 's film does n't capture the effect of these tragic deaths on hip-hop culture , it succeeds as a powerful look at a failure of our justice system .


completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .


... a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll .


a treat for its depiction on not giving up on dreams when you 're a struggling nobody .


it 's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland .


we do n't get paid enough to sit through crap like this .


feels like a cold old man going through the motions .


both an admirable reconstruction of terrible events , and a fitting memorial to the dead of that day , and of the thousands thereafter .


bravado kathy !


execrable .


-lrb- seagal 's -rrb- strenuous attempt at a change in expression could very well clinch him this year 's razzie .


thoroughly awful .


the production values are of the highest and the performances attractive without being memorable .


starts as a tart little lemon drop of a movie and ends up as a bitter pill .


despite besson 's high-profile name being wasabi 's big selling point , there is no doubt that krawczyk deserves a huge amount of the credit for the film 's thoroughly winning tone .


often lingers just as long on the irrelevant as on the engaging , which gradually turns what time is it there ?


a sensitive , moving , brilliantly constructed work .


not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .


a high-minded snoozer .


bring on the sequel .


judging by those standards , ` scratch ' is a pretty decent little documentary .


a movie like the guys is why film criticism can be considered work .


pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .


an often watchable , though goofy and lurid , blast of a costume drama set in the late 15th century .


check your brain and your secret agent decoder ring at the door because you do n't want to think too much about what 's going on .


a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili .


as saccharine as it is disposable .


the film becomes an overwhelming pleasure , and you find yourself rooting for gai 's character to avoid the fate that has befallen every other carmen before her .


matters play out realistically if not always fairly .


as lively an account as seinfeld is deadpan .


it may not be a great piece of filmmaking , but its power comes from its soul 's - eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case .


the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .


contains all the substance of a twinkie -- easy to swallow , but scarcely nourishing .


cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression .


ver wiel 's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless .


instead of hitting the audience over the head with a moral , schrader relies on subtle ironies and visual devices to convey point of view .


a sustained fest of self-congratulation between actor and director that leaves scant place for the viewer .


a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .


a much more successful translation than its most famous previous film adaptation , writer-director anthony friedman 's similarly updated 1970 british production .


hugh grant 's act is so consuming that sometimes it 's difficult to tell who the other actors in the movie are .


mendes still does n't quite know how to fill a frame .


but darned if it does n't also keep us riveted to our seats .


such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .


there 's too much forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present .


to call this film a lump of coal would only be to flatter it .


all of the filmmakers ' calculations ca n't rescue brown sugar from the curse of blandness .


intriguing and stylish .


a few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed , but skeptics are n't likely to enter the theater .


mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .


it should be interesting , it should be poignant , it turns out to be affected and boring .


when it 's not wallowing in hormonal melodrama , `` real women have curves '' is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams .


cold , nervy and memorable .


first-timer john mckay is never able to pull it back on course .


you can practically hear george orwell turning over .


helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .


passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly ...


eric schweig and graham greene both exude an air of dignity that 's perfect for the proud warrior that still lingers in the souls of these characters .


what jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery


there is n't one moment in the film that surprises or delights .


spiderman rocks


the plot is plastered with one hollywood cliche after another , most of which involve precocious kids getting the better of obnoxious adults .


astonishing is n't the word -- neither is incompetent , incoherent or just plain crap .


you might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .


unfortunately , a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .


kids five and up will be delighted with the fast , funny , and even touching story .


still , the updated dickensian sensibility of writer craig bartlett 's story is appealing .


waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it .


he watches them as they float within the seas of their personalities .


hard as this may be to believe , here on earth , a surprisingly similar teen drama , was a better film .


it 's a funny little movie with clever dialogue and likeable characters .


this charming , thought-provoking new york fest of life and love has its rewards .


a full-frontal attack on audience patience .


... less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .


this long and relentlessly saccharine film is a clear case of preaching to the converted .


the film is old-fashioned , occasionally charming and as subtle as boldface .


an entertaining mix of period drama and flat-out farce that should please history fans .


a very well-meaning movie , and it will stand in future years as an eloquent memorial to the world trade center tragedy .


it 's pretty linear and only makeup-deep , but bogdanovich ties it together with efficiency and an affection for the period .


adaptation is simply brilliant .


a thought-provoking picture .


but arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .


director charles stone iii applies more detail to the film 's music than to the story line ; what 's best about drumline is its energy .


presents nothing special and , until the final act , nothing overtly disagreeable .


turturro is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing\/reappearing acts


director yu seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times .


average , at best , i 'm afraid .


this is a superior horror flick .


the cast delivers without sham the raw-nerved story .


all in all , it 's a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own .


it 's got all the familiar bruckheimer elements , and schumacher does probably as good a job as anyone at bringing off the hopkins\/rock collision of acting styles and onscreen personas .


i felt trapped and with no obvious escape for the entire 100 minutes .


although i did n't hate this one , it 's not very good either .


cattaneo reworks the formula that made the full monty a smashing success ... but neglects to add the magic that made it all work .


a moving and not infrequently breathtaking film .


while the plot follows a predictable connect-the-dots course ... director john schultz colors the picture in some evocative shades .


anemic , pretentious .


with few respites , marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .


light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically .


one of those unassuming films that sneaks up on you and stays with you long after you have left the theatre .


all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .


a work that lacks both a purpose and a strong pulse .


a moving , if uneven , success .


it 's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads .


-lrb- a -rrb- real pleasure in its laid-back way .


feels like pieces a bunch of other , better movies slapped together .


has all the hallmarks of a movie designed strictly for children 's home video , a market so insatiable it absorbs all manner of lame entertainment , as long as 3-year-olds find it diverting .


... too contrived to be as naturally charming as it needs to be .


... in no way original , or even all that memorable , but as downtown saturday matinee brain candy , it does n't disappoint .


the 50-something lovebirds are too immature and unappealing to care about .


after a while , the only way for a reasonably intelligent person to get through the country bears is to ponder how a whole segment of pop-music history has been allowed to get wet , fuzzy and sticky .


a lot of fun , with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers .


a breathtaking adventure for all ages , spirit tells its poignant and uplifting story in a stunning fusion of music and images .


this is a nicely handled affair , a film about human darkness but etched with a light -lrb- yet unsentimental -rrb- touch .


a bland animated sequel that hardly seems worth the effort .


unspeakable , of course , barely begins to describe the plot and its complications .


a limp eddie murphy vehicle that even he seems embarrassed to be part of .


the film sparkles with the the wisdom and humor of its subjects .


though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama .


it 's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts .


in auteil 's less dramatic but equally incisive performance , he 's a charismatic charmer likely to seduce and conquer .


how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?


this is a movie that refreshes the mind and spirit along with the body , so original is its content , look , and style .


a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .


` if you are in the mood for an intelligent weepy , it can easily worm its way into your heart . '


who knows , but it works under the direction of kevin reynolds .


it 's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah .


lacking substance and soul , crossroads comes up shorter than britney 's cutoffs .


simple , poignant and leavened with humor , it 's a film that affirms the nourishing aspects of love and companionship .


at times , the movie looks genuinely pretty .


a deliberative account of a lifestyle characterized by its surface-obsession -- one that typifies the delirium of post , pre , and extant stardom .


this is surely one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio .


i simply ca n't recommend it enough .


it 's a glorified sitcom , and a long , unfunny one at that .


returning director rob minkoff ... and screenwriter bruce joel rubin ... have done a fine job of updating white 's dry wit to a new age .


with zoe clarke-williams 's lackluster thriller `` new best friend '' , who needs enemies ?


just send it to cranky .


it 's secondary to american psycho but still has claws enough to get inside you and stay there for a couple of hours .


one of the funnier movies in town .


a terrific insider look at the star-making machinery of tinseltown .


the movie is amateurish , but it 's a minor treat .


it is n't scary .


a preposterous , prurient whodunit .


they are what makes it worth the trip to the theatre .


chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .


an average kid-empowerment fantasy with slightly above-average brains .


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


the plot of the comeback curlers is n't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what 's unique and quirky about canadians .


tambor and clayburgh make an appealing couple -- he 's understated and sardonic , she 's appealingly manic and energetic .


the movie is without intent .


the best thing about the movie is its personable , amusing cast .


here is a divine monument to a single man 's struggle to regain his life , his dignity and his music .


if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia


all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .


painful , horrifying and oppressively tragic , this film should not be missed .


take care is nicely performed by a quintet of actresses , but nonetheless it drags during its 112-minute length .


the script covers huge , heavy topics in a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people .


a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .


a deliciously nonsensical comedy about a city coming apart at its seams .