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every time you look , sweet home alabama is taking another bummer of a wrong wrong turn .

how do you you spell cliché ?

no telegraphing is too obvious obvious or simplistic for this movie .

director of photography benoit benoit delhomme shot the movie in delicious colors , and the costumes and sets are grand .

i thought my own watch had had stopped keeping time as i slogged my way through clockstoppers .

less dizzying dizzying than just dizzy , the jaunt is practically over before it begins .

overall the film feels like a low-budget tv tv pilot that could not find a buyer to play it on the tube .

they should have called called it gutterball .

corpus collosum -- while undeniably interesting -- wore wore out its welcome well before the end credits rolled about 45 minutes in .

( a ) n utterly charming and hilarious film that reminded me of the best of of the disney comedies from the 60s .

there 's too much falseness to the second half , and what began as an an intriguing look at youth fizzles into a dull , ridiculous attempt at heart-tugging .

wince-inducing dialogue , thrift-shop costumes , prosthetic makeup by silly putty and kmart kmart blue-light-special effects all conspire to test trekkie loyalty .

a rigorously structured and exquisitely filmed filmed drama about a father and son connection that is a brief shooting star of love .

this is human comedy comedy at its most amusing , interesting and confirming .

whaley 's determination to to immerse you in sheer , unrelenting wretchedness is exhausting .

worth watching for dong jie 's performance -- and for for the way it documents a culture in the throes of rapid change .

a poignant , artfully crafted meditation on mortality mortality .

too restrained to be a freak show , too mercenary and obvious to be cerebral , too dull dull and pretentious to be engaging ... the isle defies an easy categorization .

vera 's three actors -- mollà , gil and bardem -- excel in in insightful , empathetic performances .

it 's everything you you do n't go to the movies for .

( grant 's ) bumbling magic takes over the film , and it turns out out to be another winning star vehicle .

it gets onto the screen just about as much of the novella as one could reasonably expect , and is engrossing and moving moving in its own right .

velocity represents everything wrong with `` independent film `` `` as a commodified , sold-out concept on the american filmmaking scene .

but taken as a stylish and energetic one-shot , the queen queen of the damned can not be said to suck .

the piece plays as well as it does thanks in large measure to anspaugh 's three three lead actresses .

suffocated by its fussy script and uptight characters , this musty adaptation is all the more annoying since it it 's been packaged and sold back to us by hollywood .

but what what are adults doing in the theater at all ?

like being trapped at a perpetual frat frat party ... how can something so gross be so boring ?

the man from from elysian fields is a cold , bliss-less work that groans along thinking itself some important comment on how life throws us some beguiling curves .

this this is n't even madonna 's swept away .

the the experience of going to a film festival is a rewarding one ; the experiencing of sampling one through this movie is not .

american american chai encourages rueful laughter at stereotypes only an indian-american would recognize .

my big fat greek wedding uses stereotypes in a delightful blend of sweet romance and lovingly lovingly dished out humor .

... a magnificent drama well worth worth tracking down .

oscar wilde 's masterpiece , the importance of being earnest , may be be the best play of the 19th century .

jose campanella delivers a loosely autobiographical story brushed with sentimentality but brimming with gentle humor , bittersweet pathos , and lyric moments that linger like snapshots of memory memory .

but it still jingles in in the pocket .

it 's a demented kitsch mess ( although the smeary digital video does does match the muddled narrative ) , but it 's savvy about celebrity and has more guts and energy than much of what will open this year .

you really have to wonder how on earth anyone , anywhere could have have thought they 'd make audiences guffaw with a script as utterly diabolical as this .

one from from the heart .

made with no discernible craft and monstrously sanctimonious in dealing with childhood loss loss .

people cinema cinema at its finest .

what 's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly thoroughly engage you .

and and when you 're talking about a slapstick comedy , that 's a pretty big problem .

a working class `` us vs. them `` opera that leaves no heartstring heartstring untugged and no liberal cause unplundered .

nelson 's brutally unsentimental approach approach ... sucks the humanity from the film , leaving behind an horrific but weirdly unemotional spectacle .

one long string of cliches cliches .

like watching watching a dress rehearsal the week before the show goes up : everything 's in place but something 's just a little off-kilter .

it 's hard to imagine alan arkin being better than he is in in this performance .

the film will play equally equally well on both the standard and giant screens .

... a fun little timewaster timewaster , helped especially by the cool presence of jean reno .

something something like scrubbing the toilet .

there 's enough melodrama in this magnolia primavera to make pta proud yet director muccino muccino 's characters are less worthy of puccini than they are of daytime television .

may be far from the best of the series , but it 's assured , wonderfully respectful of its past past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .

if there 's one thing this world needs less of , it 's movies about college that are written and directed by people who could n't pass an entrance entrance exam .

writer/director writer/director joe carnahan 's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic .

the result result is a gaudy bag of stale candy , something from a halloween that died .

it 's a lovely film with lovely performances by by buy and accorsi .

there 's something auspicious auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director like steven spielberg to follow a.i . with this challenging report so liable to unnerve the majority .

movie fans , get ready to take off ... ... the other direction .

not an objectionable or dull film ; it merely lacks everything except good intentions intentions .

while its careful pace and and seemingly opaque story may not satisfy every moviegoer 's appetite , the film 's final scene is soaringly , transparently moving .

a film film about a young man finding god that is accessible and touching to the marrow .

a compelling spanish film about the withering effects of of jealousy in the life of a young monarch whose sexual passion for her husband becomes an obsession .

an infectious cultural fable with a tasty balance of family drama and frenetic frenetic comedy .

i do do n't think i laughed out loud once .

very special effects , brilliantly bold colors and heightened reality ca n't hide the giant achilles ' heel in `` stuart little 2 `` : there 's just just no story , folks .

not the kind of film that that will appeal to a mainstream american audience , but there is a certain charm about the film that makes it a suitable entry into the fest circuit .

it 's 's a beautiful madness .

when when the film ended , i felt tired and drained and wanted to lie on my own deathbed for a while .

not really bad so much as distasteful : we need kidnapping suspense dramas right now like like we need doomsday thrillers .

as ` chick flicks ' go , this one is pretty miserable , resorting to string-pulling rather than legitimate character development development and intelligent plotting .

by candidly detailing the politics politics involved in the creation of an extraordinary piece of music , ( jones ) calls our attention to the inherent conflict between commerce and creativity .

one of the most significant significant moviegoing pleasures of the year .

prurient playthings aside , there 's little to love about this this english trifle .

a grimly competent and and stolid and earnest military courtroom drama .

at once half-baked and and overheated .

the structure the film takes may find matt damon and ben affleck once once again looking for residuals as this officially completes a good will hunting trilogy that was never planned .

the movie does a good job of laying out some of of the major issues that we encounter as we journey through life .

very psychoanalytical -- provocatively so so -- and also refreshingly literary .

aside from minor tinkering , this is the same same movie you probably loved in 1994 , except that it looks even better .

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

a valueless kiddie paean paean to pro basketball underwritten by the nba .

based on on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters

it 's as if you 're watching a movie that was made in 1978 but not released then because it was so weak , and it has been unearthed and released now , when it has become even even weaker .

that 's 's a cheat .

it 's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature with psychic abilities offers a solid build-up build-up , a terrific climax , and some nice chills along the way .

it 's fun lite lite .

... an otherwise intense , twist-and-turn thriller that certainly should n't hurt talented young gaghan 's resume resume .

it confirms confirms fincher 's status as a film maker who artfully bends technical know-how to the service of psychological insight .

the film contains no good jokes , no good scenes , barely barely a moment when carvey 's saturday night live-honed mimicry rises above the level of embarrassment .

a fitfully amusing romp that , if nothing else , will appeal to fans of malcolm in the the middle and its pubescent star , frankie muniz .

it 's not original , and , robbed of the element of surprise , it does n't have any huge laughs in its story of irresponsible cops cops who love to play pranks .

though moonlight mile is replete with acclaimed actors and actresses and tackles a subject that 's potentially moving , the movie is too predictable and too self-conscious to to reach a level of high drama .

a tender , witty , captivating film about friendship friendship , love , memory , trust and loyalty .