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the format gets used best .. to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups .

inside the film 's conflict-powered plot there is a decent moral trying to get out , but it 's nt that , it 's the tension that keeps you in your seat .

there ought to be a directing license , so tht ed burns can have his revoked .

bd .

that dogged good will of the parents and ` vain ' jia 's defoliation of ego , make the flm touching despite some doldrums .

falls neaty into the category of good stupid fun .

an artful , intelligent fim that stays within the confines of a well-established genre .

smart , provocative and bisteringly funny .

and the lesson , in the end , is nothing nw .

this is not the undisputed worst boxing movie ever , but it 's certainly not a champion - the big loser is te audience .

not only is undercover brother as funny , if not more so , than both austin powers films , but it 's also one of the smarter , savvier spoofs to come aong in some time .

to say this was done better in wilder 's some like it hot is like saying the sn rises in the east .

the entire movie is about a boring , sd man being boring and sad .

this time mr. burns is trying something in te martin scorsese street-realist mode , but his self-regarding sentimentality trips him up again .

perceptive in its vision of nascent industrialized world politics as a new art form , but far to clunky , didactic and saddled with scenes that seem simply an ill fit for this movie .

the best revenge may jst be living well because this film , unlike other dumas adaptations , is far more likened to a treasure than a lengthy jail sentence .

the movie understands like few others how the depth and breadth of emotional intimacy gve the physical act all of its meaning and most of its pleasure .

once ( kim ) begins to overplay the shock tactics and bait-and-tackle metaphors , you may decide it 's too high a price to pay for a shimmerng picture postcard .

all that 's missing is the spontanity , originality and delight .

what the film lacks in genral focus it makes up for in compassion , as corcuera manages to find the seeds of hope in the form of collective action .

the socio-histo-political treatise is tod in earnest strides ... ( and ) personal illusion is deconstructed with poignancy .

my reacion in a word : disappointment .

a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton 's direting debut is a creepy slice of gothic rural americana .

corny , schmaltzy ad predictable , but still manages to be kind of heartwarming , nonetheless .

nothing 's at stake , just a twisty doube-cross you can smell a mile away -- still , the derivative nine queens is lots of fun .

far more imaginative and ambitious than the trivial , cash-in features nickelodeon hs made from its other animated tv series .

of course , by more objective measurements it 's sill quite bad .

as the two leads , lathan and digs are charming and have chemistry both as friends and lovers .

it provides an honest lok at a community striving to anchor itself in new grounds .

this movie seems to hae been written using mad-libs .

reign of fire looks as if it was made without much thought -- and is best watched that wy .

martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes ad frustrations vivid .

it 's not that kung pow is n't funny some of the time -- it just is n't any funnier than bad martial arts movies are all by themselves , without all oedekerk 's impsh augmentation .

i 'd have to say the star ad director are the big problems here .

affleck ad jackson are good sparring partners .

whether you like rap music or loathe it , you ca n't deny eiter the tragic loss of two young men in the prime of their talent or the power of this movie .

not since japanese filmmakr akira kurosawa 's ran have the savagery of combat and the specter of death been visualized with such operatic grandeur .

a by-the-numers effort that wo n't do much to enhance the franchise .

an occasionally funny , but overall limp , fish-ut-of-water story .

brilliantly explores the conflict btween following one 's heart and following the demands of tradition .

despite the 2-d animation , the wild thornberrys movie maes for a surprisingly cinematic experience .

it appears that something has been lost in te translation to the screen .

it all feels like a monty python sketch goe horribly wrong .

te film tunes into a grief that could lead a man across centuries .

dazzles with its fully-written characters , its determined stylishness ( which always relates to charactes and story ) and johnny dankworth 's best soundtrack in years .

it 's a work by an artist so in control of boh his medium and his message that he can improvise like a jazzman .

it 's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of anna chancelor that makes this `` two weddings and a funeral `` fun .

stealing harvard is evidence that the farrelly bros. -- peter and bobby -- and their brand of screen comedy are wheezing to an end , along with green 's half-hearted movie creer .

a full world has been presented onscreen , not some series of carefully structured plot points building to a pat resoluton .

huston nails both the glad-handing and te choking sense of hollow despair .

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

the film tries too hard to be funny and tries too hard to be hp .

blanchett 's performance confirms hr power once again .

if you believe any of this , i can make you a real deal on leftover enron stock that wll double in value a week from friday .

attempts by this ensemble film to impart a message are so heavy-haned that they instead pummel the audience .

no one but a convict guilty of some truly heinous crime should hae to sit through the master of disguise .

rarely has so much money deliverd so little entertainment .

taylor appears to have blown his entire budget on soundtrack rights and had nothing left oer for jokes .

`` the time machine `` is a movie that has no interet in itself .

a rarity among recent iranan films : it 's a comedy full of gentle humor that chides the absurdity of its protagonist 's plight .

/ but daphne , you 'e too buff / fred thinks he 's tough / and velma - wow , you 've lost weight !

the very definition of the ` small ' movie , but it is a good stepping stone for director srecher .

it 's like every bad idea that 's ever gone into an after-school special compiled in one place , minus those daytime prorams ' slickness and sophistication ( and who knew they even had any ? ) .

chilling , well-acted , and finely directed : david jacobson 's dahmr .

it ca n't decide if it wants to be a mystery/thriller , a romance or a cmedy .

paid in full is so stale , in fct , that its most vibrant scene is one that uses clips from brian de palma 's scarface .

a coda in every sense , the pinochet case splits time between a minute-by-minute account of the british court 's extradition chess game ad the regime 's talking-head survivors .

it 's plaed in the most straight-faced fashion , with little humor to lighten things up .

a dumb move with dumb characters doing dumb things and you have to be really dumb not to see where this is going .

wth virtually no interesting elements for an audience to focus on , chelsea walls is a triple-espresso endurance challenge .

dense with chracters and contains some thrilling moments .

as unseemly as is title suggests .

it 's like watchng a nightmare made flesh .

minority report is exctly what the title indicates , a report .

it 's hard to lke a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .

an entertaining , colorful , action-filled crime story with an intimate heat .

for this reason and this reason only -- the power of is own steadfast , hoity-toity convictions -- chelsea walls deserves a medal .

it just may inspire a few younger moviegoers to read stevenson 's book , which is a treasue in and of itself .

baically a static series of semi-improvised ( and semi-coherent ) raps between the stars .

... with `` the bourne identity `` we retrn to the more traditional action genre .

it 's so good that its relentless , polished wit can withstand not only inept school productions , but een oliver parker 's movie adaptation .

chokes on its own depiction of upper-crut decorum .

while there 's something intrinsically funny about sir anthony hopkins saying ` gt in the car , bitch , ' this jerry bruckheimer production has little else to offer

a rewarding work of art for only te most patient and challenge-hungry moviegoers .

directed in a paint-by-numbers maner .

k-19 exploits our substantial collective fear of nuclear holocaust to generate ceap hollywood tension .

at its best , queen is campy fun lke the vincent price horror classics of the '60s .

it 's a much more emotional journey than what shyamalan has given us in his past two movies , and gibson , stepping in for brce willis , is the perfect actor to take us on the trip .

the quality of the art combined with the humor and intelligence of the script allow the filmmakers to present the biblical message of forgiveness without it ever beoming preachy or syrupy .

col ?

deliriously funny , fast and looe , accessible to the uninitiated , and full of surprises

even with a green mohawk and a sheet of fire-red flame tattoos covering his shouler , however , kilmer seems to be posing , rather than acting .

the story and the friendship proceeds in such a way that you 're watching a soap opera rather than a chronicle of the ups and downs that accompany lifelong frindships .

at a time when half the so-called real movies are little more than live-action cartoons , it 's refreshing to see a cartoon that knows what it is , ad knows the form 's history .

the old-world - meets-new mesh is incarnated in te movie 's soundtrack , a joyful effusion of disco bollywood that , by the end of monsoon wedding , sent my spirit soaring out of the theater .

jones ... does offer a brual form of charisma .

its well of thorn and vinegar ( and simple humanity ) has long been plundered by similar works featuring the insight and punch this pictre so conspicuously lacks .

travels a fascinating ac from hope and euphoria to reality and disillusionment .

serving sara does nt serve up a whole lot of laughs .

the sort of flm that makes me miss hitchcock , but also feel optimistic that there 's hope for popular cinema yet .