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an undistinguished attempt to make a classic theater piece cinematic .
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too many scenarios in which the hero might have an opportunity to triumphantly sermonize , and too few that allow us to wonder for ourselves if things will turn out okay .
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there is simply not enough of interest onscreen to sustain its seventy-minute running time .
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a wordy wisp of a comedy .
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broomfield's style of journalism is hardly journalism at all , and even those with an avid interest in the subject will grow impatient .
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[seagal's] strenuous attempt at a change in expression could very well clinch him this year's razzie .
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has the disjointed feel of a bunch of strung-together tv episodes .
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a series of escapades demonstrating the adage that what is good for the goose is also good for the gander , some of which occasionally amuses but none of which amounts to much of a story .
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ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .
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a dopey movie clothed in excess layers of hipness .
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the sweetest thing is expressly for idiots who don't care what kind of sewage they shovel into their mental gullets to simulate sustenance .
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sinks so low in a poorly played game of absurd plot twists , idiotic court maneuvers and stupid characters that even freeman can't save it .
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i realized that no matter how fantastic reign of fire looked , its story was making no sense at all .
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it made me realize that we really haven't had a good cheesy b-movie playing in theaters since . . . well . . . since last week's reign of fire .
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some movies were made for the big screen , some for the small screen , and some , like ballistic : ecks vs . sever , were made for the palm screen .
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sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet it's geared toward an audience full of masters of both .
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after all the big build-up , the payoff for the audience , as well as the characters , is messy , murky , unsatisfying .
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seems content to dog-paddle in the mediocre end of the pool , and it's a sad , sick sight .
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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 .
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if all of eight legged freaks was as entertaining as the final hour , i would have no problem giving it an unqualified recommendation .
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suffers from a flat script and a low budget .
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there are deeply religious and spiritual people in this world who would argue that entering a church , synagogue or temple doesn't mean you have to check your brain at the door . the same should go for movie theaters .
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seemingly a vehicle to showcase the canadian's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr . drew barrymore .
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the film tries to touch on spousal abuse but veers off course and becomes just another revenge film .
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as it stands it's an opera movie for the buffs .
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la cinta comienza intentando ser un drama , rápidamente se transforma en una comedia y termina por ser una parodia absolutamente predecible
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this franchise has not spawned a single good film . the crap continues .
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if only it were , well , funnier .
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its inescapable absurdities are tantamount to insulting the intelligence of anyone who hasn't been living under a rock ( since sept . 11 ) .
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high drama , disney-style - a wing and a prayer and a hunky has-been pursuing his castle in the sky .
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like its script , which nurses plot holes gaping enough to pilot an entire olympic swim team through , the characters in swimfan seem motivated by nothing short of dull , brain-deadening hangover .
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one big blustery movie where nothing really happens . when it comes out on video , then it's the perfect cure for insomnia .
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like a comedian who starts off promisingly but then proceeds to flop , comedian runs out of steam after a half hour .
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the pairing does sound promising in theory . . . but their lack of chemistry makes eddie murphy and robert deniro in showtime look like old , familiar vaudeville partners .
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director chris eyre is going through the paces again with his usual high melodramatic style of filmmaking .
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as it stands , there's some fine sex onscreen , and some tense arguing , but not a whole lot more .
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i could just feel the screenwriter at every moment 'tap , tap , tap , tap , tapping away' on this screenplay .
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the picture doesn't know it's a comedy .
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a stupid , derivative horror film that substitutes extreme gore for suspense .
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the rollerball sequences feel sanitised and stagey .
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roman polanski directs the pianist like a surgeon mends a broken heart ; very meticulously but without any passion .
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nothing more than a run-of-the-mill action flick .
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lan yu is certainly a serviceable melodrama , but it doesn't even try for the greatness that happy together shoots for ( and misses ) .
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this is an action movie with an action icon who's been all but decommissioned .
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even if it is generally amusing from time to time , i spy has all the same problems the majority of action comedies have .
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much like robin williams , death to smoochy has already reached its expiration date .
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an annoying orgy of excess and exploitation that has no point and goes nowhere .
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a tired , unnecessary retread . . . a stale copy of a picture that wasn't all that great to begin with .
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an often unfunny romp .
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a worthy idea , but the uninspired scripts , acting and direction never rise above the level of an after-school tv special .
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twenty years later , reggio still knows how to make a point with poetic imagery , but his ability to startle has been stifled by the very prevalence of the fast-forward technology that he so stringently takes to task .
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it bites hard .
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ear-splitting exercise in formula crash-and-bash action .
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we have an actor who is great fun to watch performing in a film that is only mildly diverting .
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despite hoffman's best efforts , wilson remains a silent , lumpish cipher ; his encounters reveal nothing about who he is or who he was before .
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there's a thin line between likably old-fashioned and fuddy-duddy , and the count of monte cristo . . . never quite settles on either side .
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the emotional overload of female angst irreparably drags the film down .
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schaefer's . . . determination to inject farcical raunch . . . drowns out the promise of the romantic angle .
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like showgirls and glitter , the most entertaining moments here are unintentional .
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while some of the camera work is interesting , the film's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .
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the origin story is well told , and the characters will not disappoint anyone who values the original comic books . it's in the action scenes that things fall apart .
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impostor is a step down for director gary fleder .
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seagal , who looks more like danny aiello these days , mumbles his way through the movie .
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the movie is a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents .
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lacks dramatic punch and depth .
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there are moments of real pleasure to be found in sara sugarman's whimsical comedy very annie-mary but not enough to sustain the film .
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i can analyze this movie in three words : thumbs friggin' down .
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sadly , 'garth' hasn't progressed as nicely as 'wayne . '
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make like the title and dodge this one .
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this is not one of the movies you'd want to watch if you only had a week to live .
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the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .
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here's a case of two actors who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior .
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it's obvious [je-gyu is] trying for poetry ; what he gets instead has all the lyricism of a limerick scrawled in a public restroom .
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sweet home alabama is one dumb movie , but its stupidity is so relentlessly harmless that it almost wins you over in the end .
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[green is] the comedy equivalent of saddam hussein , and i'm just about ready to go to the u . n . and ask permission for a preemptive strike .
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no amount of good acting is enough to save oleander's uninspired story .
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a vile , incoherent mess . . . a scummy ripoff of david cronenberg's brilliant 'videodrome . '
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murphy and wilson actually make a pretty good team . . . but the project surrounding them is distressingly rote .
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despite its raucous intent , xxx is as conventional as a nike ad and as rebellious as spring break .
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think the lion king redone for horses , with fewer deliberate laughs , more inadvertent ones and stunningly trite songs by bryan adams , the world's most generic rock star .
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it is one more celluloid testimonial to the cruelties experienced by southern blacks as distilled through a caucasian perspective .
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it's tough being a black man in america , especially when the man has taken away your car , your work-hours and denied you health insurance .
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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 ( and , for that matter , shrek ) .
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an amateurish , quasi-improvised acting exercise shot on ugly digital video .
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the holes in this film remain agape -- holes punched through by an inconsistent , meandering , and sometimes dry plot .
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would benigni's italian pinocchio have been any easier to sit through than this hastily dubbed disaster ?
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unofficially , national lampoon's van wilder is son of animal house . officially , it is twice as bestial but half as funny .
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this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .
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mindless yet impressively lean spinoff of last summer's bloated effects fest the mummy returns .
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halfway through the movie , the humor dwindles . it's replaced by some dramatic scenes that are jarring and deeply out of place in what could have ( and probably should have ) been a lighthearted comedy .
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will be far more interesting to the soderbergh faithful than it will be to the casual moviegoer who might be lured in by julia roberts . . .
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authentic , and at times endearing , humorous , spooky , educational , but at other times as bland as a block of snow .
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[a] mess .
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control-alt-delete simone as quickly as possible
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follows the original film virtually scene for scene and yet manages to bleed it almost completely dry of humor , verve and fun .
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the filmmaker ascends , literally , to the olympus of the art world , but he would have done well to end this flawed , dazzling series with the raising of something other than his own cremaster .
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the screenplay comes across , rather unintentionally , as hip-hop scooby-doo .
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has lost some of the dramatic conviction that underlies the best of comedies . . .
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vaguely interesting , but it's just too too much .
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. . . no charm , no laughs , no fun , no reason to watch .
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