villeneuve spends too much time wallowing in bibi 's generic angst -lrb- there are a lot of shots of her gazing out windows -rrb- .

while -lrb- hill -rrb- has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .


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


comes ... uncomfortably close to coasting in the treads of the bicycle thief .

if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .


first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film .


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

a broad , melodramatic estrogen opera that 's pretty toxic in its own right .


it proves quite compelling as an intense , brooding character study .


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

pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .


will amuse and provoke adventurous adults in specialty venues .


... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .

a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .


although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .


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

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


a swashbuckling tale of love , betrayal , revenge and above all , faith .


it 's a cookie-cutter movie , a cut-and-paste job .


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


pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .

trite , banal , cliched , mostly inoffensive .


not only unfunny , but downright repellent .

the film 's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .


the story and structure are well-honed .


another in-your-face wallow in the lower depths made by people who have never sung those blues .

i am sorry that i was unable to get the full brunt of the comedy .


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

the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .


despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults .


blanchett 's performance confirms her power once again .


its well of thorn and vinegar -lrb- and simple humanity -rrb- has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .


you do n't have to know about music to appreciate the film 's easygoing blend of comedy and romance .


if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther 's story is a compelling quest for truth .

for the most part , director anne-sophie birot 's first feature is a sensitive , extraordinarily well-acted drama .


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


michael gerbosi 's script is economically packed with telling scenes .

it 's refreshing to see a girl-power movie that does n't feel it has to prove anything .


at its worst , it implodes in a series of very bad special effects .


-lrb- t -rrb- here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .

the title not only describes its main characters , but the lazy people behind the camera as well .


has a lot of the virtues of eastwood at his best .


i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .

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


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


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

though only 60 minutes long , the film is packed with information and impressions .


... nothing scary here except for some awful acting and lame special effects .


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

comes ... uncomfortably close to coasting in the treads of the bicycle thief .


` de niro ... is a veritable source of sincere passion that this hollywood contrivance orbits around . '


just embarrassment and a vague sense of shame .

villeneuve spends too much time wallowing in bibi 's generic angst -lrb- there are a lot of shots of her gazing out windows -rrb- .


it haunts you , you ca n't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it .


the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination .

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


its well of thorn and vinegar -lrb- and simple humanity -rrb- has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .


more romantic , more emotional and ultimately more satisfying than the teary-eyed original .

it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


the overall effect is less like a children 's movie than a recruitment film for future hollywood sellouts .


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

unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .


... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .


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

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 friendships .


a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .


will amuse and provoke adventurous adults in specialty venues .

reggio 's continual visual barrage is absorbing as well as thought-provoking .


-lrb- t -rrb- here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .


awesome creatures , breathtaking scenery , and epic battle scenes add up to another ` spectacular spectacle . '

two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .


for starters , the story is just too slim .


trademark american triteness and simplicity are tossed out the window with the intelligent french drama that deftly explores the difficult relationship between a father and son .

fresnadillo 's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .


it 's dumb , but more importantly , it 's just not scary .


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

while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .


whether writer-director anne fontaine 's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .


not since tom cruise in risky business has an actor made such a strong impression in his underwear .


feels haphazard , as if the writers mistakenly thought they could achieve an air of frantic spontaneity by simply tossing in lots of characters doing silly stuff and stirring the pot .


a beguiling splash of pastel colors and prankish comedy from disney .

highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .


every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable .


the words , ` frankly , my dear , i do n't give a damn , ' have never been more appropriate .

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


it 's great escapist fun that recreates a place and time that will never happen again .


it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .

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


ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid .


but the power of these -lrb- subjects -rrb- is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .

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


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 .

puts a human face on a land most westerners are unfamiliar with .


moretti 's compelling anatomy of grief and the difficult process of adapting to loss .


if looking for a thrilling sci-fi cinematic ride , do n't settle for this imposter .

but it 's too long and too convoluted and it ends in a muddle .


this is wild surreal stuff , but brilliant and the camera just kind of sits there and lets you look at this and its like you 're going from one room to the next and none of them have any relation to the other .


at its worst , it implodes in a series of very bad special effects .

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


in a way , the film feels like a breath of fresh air , but only to those that allow it in .


while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .

if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .


some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .


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


every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable .

it 's clear the filmmakers were n't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .


has a lot of the virtues of eastwood at his best .


a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear .

majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


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


with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie .

it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


if looking for a thrilling sci-fi cinematic ride , do n't settle for this imposter .


no way i can believe this load of junk .

... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .


the iditarod lasts for days - this just felt like it did .

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


what better message than ` love thyself ' could young women of any size receive ?


it is great summer fun to watch arnold and his buddy gerald bounce off a quirky cast of characters .

a good piece of work more often than not .


pumpkin takes an admirable look at the hypocrisy of political correctness , but it does so with such an uneven tone that you never know when humor ends and tragedy begins .


for the most part , director anne-sophie birot 's first feature is a sensitive , extraordinarily well-acted drama .

a celebration of quirkiness , eccentricity , and certain individuals ' tendency to let it all hang out , and damn the consequences .


no way i can believe this load of junk .


a good piece of work more often than not .

the film is quiet , threatening and unforgettable .


the script kicks in , and mr. hartley 's distended pace and foot-dragging rhythms follow .


trite , banal , cliched , mostly inoffensive .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .


although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .


reggio 's continual visual barrage is absorbing as well as thought-provoking .

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


dull , lifeless , and amateurishly assembled .


the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger .


while -lrb- hill -rrb- has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .


a broad , melodramatic estrogen opera that 's pretty toxic in its own right .

by getting myself wrapped up in the visuals and eccentricities of many of the characters , i found myself confused when it came time to get to the heart of the movie .


a pleasant enough romance with intellectual underpinnings , the kind of movie that entertains even as it turns maddeningly predictable .


` de niro ... is a veritable source of sincere passion that this hollywood contrivance orbits around . '


two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .

this is wild surreal stuff , but brilliant and the camera just kind of sits there and lets you look at this and its like you 're going from one room to the next and none of them have any relation to the other .


-lrb- t -rrb- here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .


if you dig on david mamet 's mind tricks ... rent this movie and enjoy !

one of the most significant moviegoing pleasures of the year .


the notion that bombing buildings is the funniest thing in the world goes entirely unexamined in this startlingly unfunny comedy .


it 's a stunning lyrical work of considerable force and truth .

two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .


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


it 's a grab bag of genres that do n't add up to a whole lot of sense .

slapstick buffoonery can tickle many a preschooler 's fancy , but when it costs a family of four about $ 40 to see a film in theaters , why spend money on a dog like this when you can rent a pedigree instead ?


a tv style murder mystery with a few big screen moments -lrb- including one that seems to be made for a different film altogether -rrb- .


` easily my choice for one of the year 's best films . '


however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .


reggio 's continual visual barrage is absorbing as well as thought-provoking .


the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .


uses high comedy to evoke surprising poignance .


vera 's technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .

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


drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why .


this surreal gilliam-esque film is also a troubling interpretation of ecclesiastes .

based 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 hard to like 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 .


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

the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger .


i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .


once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back .


rare birds has more than enough charm to make it memorable .


while -lrb- hill -rrb- has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .

the script kicks in , and mr. hartley 's distended pace and foot-dragging rhythms follow .


it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .


first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film .


if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .


a poignant , artfully crafted meditation on mortality .

if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther 's story is a compelling quest for truth .


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


a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...


broomfield turns his distinctive ` blundering ' style into something that could really help clear up the case .


the film 's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .

trite , banal , cliched , mostly inoffensive .


the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .


it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .

in a way , the film feels like a breath of fresh air , but only to those that allow it in .


puts a human face on a land most westerners are unfamiliar with .


however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .


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

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


hit and miss as far as the comedy goes and a big ole ' miss in the way of story .


by getting myself wrapped up in the visuals and eccentricities of many of the characters , i found myself confused when it came time to get to the heart of the movie .

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


... a magnificent drama well worth tracking down .


intriguing documentary which is emotionally diluted by focusing on the story 's least interesting subject .

offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .


although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .


it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .


does little more than play an innocuous game of fill-in - the-blanks with a tragic past .

sticky sweet sentimentality , clumsy plotting and a rosily myopic view of life in the wwii-era mississippi delta undermine this adaptation .


a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .

ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid .


by getting myself wrapped up in the visuals and eccentricities of many of the characters , i found myself confused when it came time to get to the heart of the movie .


the characters are interesting and often very creatively constructed from figure to backstory .

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


here 's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep .

but the power of these -lrb- subjects -rrb- is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .


will amuse and provoke adventurous adults in specialty venues .


instead of hiding pinocchio from critics , miramax should have hidden it from everyone .

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


a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .


-lrb- a -rrb- n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s .


uses high comedy to evoke surprising poignance .

it proves quite compelling as an intense , brooding character study .


it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .


this is a shameless sham , calculated to cash in on the popularity of its stars .

for starters , the story is just too slim .


bennett 's naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .


it takes talent to make a lifeless movie about the most heinous man who ever lived .

a by-the-numbers patient\/doctor pic that covers all the usual ground


majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


even if you do n't think -lrb- kissinger 's -rrb- any more guilty of criminal activity than most contemporary statesmen , he 'd sure make a courtroom trial great fun to watch .

you do n't have to know about music to appreciate the film 's easygoing blend of comedy and romance .


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


it proves quite compelling as an intense , brooding character study .

having had the good sense to cast actors who are , generally speaking , adored by the movie-going public , khouri then gets terrific performances from them all .


nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad acting .


... a magnificent drama well worth tracking down .

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


however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .


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

a good piece of work more often than not .


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


it 's difficult to imagine the process that produced such a script , but here 's guessing that spray cheese and underarm noises played a crucial role .

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 friendships .


the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination .


the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing .

the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger .


while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .


there is n't nearly enough fun here , despite the presence of some appealing ingredients .

it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .


two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .


jason x is positively anti-darwinian : nine sequels and 400 years later , the teens are none the wiser and jason still kills on auto-pilot .


visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .

it haunts you , you ca n't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it .


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

will amuse and provoke adventurous adults in specialty venues .


it 's dumb , but more importantly , it 's just not scary .


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

a by-the-numbers patient\/doctor pic that covers all the usual ground


pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical .


beautifully observed , miraculously unsentimental comedy-drama .


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


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

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


it 's great escapist fun that recreates a place and time that will never happen again .


manages to show life in all of its banality when the intention is quite the opposite .

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


holm ... embodies the character with an effortlessly regal charisma .


an unclassifiably awful study in self - and audience-abuse .

every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .


a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion .

reggio 's continual visual barrage is absorbing as well as thought-provoking .


the so-inept - it 's - surreal dubbing -lrb- featuring the voices of glenn close , regis philbin and breckin meyer -rrb- brings back memories of cheesy old godzilla flicks .


... nothing scary here except for some awful acting and lame special effects .

another in-your-face wallow in the lower depths made by people who have never sung those blues .


whether writer-director anne fontaine 's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .

if you dig on david mamet 's mind tricks ... rent this movie and enjoy !


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


manages to be both repulsively sadistic and mundane .

sit through this one , and you wo n't need a magic watch to stop time ; your dvd player will do it for you .


one of the most significant moviegoing pleasures of the year .


but it 's too long and too convoluted and it ends in a muddle .


good old-fashioned slash-and-hack is back !


fresnadillo 's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .


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


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


it 's another video movie photographed like a film , with the bad lighting that 's often written off as indie film naturalism .

while -lrb- hill -rrb- has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .


you do n't have to know about music to appreciate the film 's easygoing blend of comedy and romance .


some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .

even on those rare occasions when the narrator stops yammering , miller 's hand often feels unsure .


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 .


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 friendships .


a poignant , artfully crafted meditation on mortality .


the notion that bombing buildings is the funniest thing in the world goes entirely unexamined in this startlingly unfunny comedy .

but the power of these -lrb- subjects -rrb- is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .


falls neatly into the category of good stupid fun .


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

drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why .


this is a shameless sham , calculated to cash in on the popularity of its stars .


every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .

if looking for a thrilling sci-fi cinematic ride , do n't settle for this imposter .


what better message than ` love thyself ' could young women of any size receive ?


the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .

the overall effect is less like a children 's movie than a recruitment film for future hollywood sellouts .


even if you do n't think -lrb- kissinger 's -rrb- any more guilty of criminal activity than most contemporary statesmen , he 'd sure make a courtroom trial great fun to watch .


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

although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .


pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .


with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie .


because of an unnecessary and clumsy last scene , ` swimfan ' left me with a very bad feeling .


the humor is forced and heavy-handed , and occasionally simply unpleasant .

determined to be fun , and bouncy , with energetic musicals , the humor did n't quite engage this adult .


... a magnificent drama well worth tracking down .


detox is ultimately a pointless endeavor .


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


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

michael gerbosi 's script is economically packed with telling scenes .


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


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

in a way , the film feels like a breath of fresh air , but only to those that allow it in .


verbinski implements every hack-artist trick to give us the ooky-spookies .


a taut psychological thriller that does n't waste a moment of its two-hour running time .

the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .


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


although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .

majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


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


holm ... embodies the character with an effortlessly regal charisma .


another in-your-face wallow in the lower depths made by people who have never sung those blues .


scooby dooby doo \/ and shaggy too \/ you both look and sound great .

sade is an engaging look at the controversial eponymous and fiercely atheistic hero .


the film flat lines when it should peak and is more missed opportunity and trifle than dark , decadent truffle .


it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .

-lrb- t -rrb- here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .


an important movie , a reminder of the power of film to move us and to make us examine our values .


it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes .

no way i can believe this load of junk .


a good piece of work more often than not .


it 's dumb , but more importantly , it 's just not scary .

once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back .


-lrb- a -rrb- n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s .


one of those energetic surprises , an original that pleases almost everyone who sees it .


the notion that bombing buildings is the funniest thing in the world goes entirely unexamined in this startlingly unfunny comedy .


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


true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable .


has a lot of the virtues of eastwood at his best .

audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .


because of an unnecessary and clumsy last scene , ` swimfan ' left me with a very bad feeling .


ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine .

it 's another stale , kill-by-numbers flick , complete with blade-thin characters and terrible , pun-laden dialogue .


a pleasant enough romance with intellectual underpinnings , the kind of movie that entertains even as it turns maddeningly predictable .


his last movie was poetically romantic and full of indelible images , but his latest has nothing going for it .

mattei is tiresomely grave and long-winded , as if circularity itself indicated profundity .


two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .


if steven soderbergh 's ` solaris ' is a failure it is a glorious failure .

the characters are interesting and often very creatively constructed from figure to backstory .


it 's hampered by a lifetime-channel kind of plot and a lead actress who is out of her depth .


unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .

` easily my choice for one of the year 's best films . '


bennett 's naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .

a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .


it showcases carvey 's talent for voices , but not nearly enough and not without taxing every drop of one 's patience to get to the good stuff .


although huppert 's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .

does little more than play an innocuous game of fill-in - the-blanks with a tragic past .


a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion .


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

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 .


every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .


holm ... embodies the character with an effortlessly regal charisma .


the piquant story needs more dramatic meat on its bones .


the best that can be said about the work here of scottish director ritchie ... is that he obviously does n't have his heart in it .

it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes .


a good piece of work more often than not .


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

it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .


affleck and jackson are good sparring partners .


mr. tsai is a very original artist in his medium , and what time is it there ?

blanchett 's performance confirms her power once again .


... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .


it 's clear the filmmakers were n't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .

it all drags on so interminably it 's like watching a miserable relationship unfold in real time .


bennett 's naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .


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

the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .


what better message than ` love thyself ' could young women of any size receive ?


it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .

even if you do n't think -lrb- kissinger 's -rrb- any more guilty of criminal activity than most contemporary statesmen , he 'd sure make a courtroom trial great fun to watch .


rarely has so much money delivered so little entertainment .


a celebration of quirkiness , eccentricity , and certain individuals ' tendency to let it all hang out , and damn the consequences .

whether writer-director anne fontaine 's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .


verbinski implements every hack-artist trick to give us the ooky-spookies .


it 's hard to like 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 .

detox is ultimately a pointless endeavor .


first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film .


a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...


the heavy-handed film is almost laughable as a consequence .

shaky close-ups of turkey-on-rolls , stubbly chins , liver spots , red noses and the filmmakers new bobbed do draw easy chuckles but lead nowhere .


the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .


even on those rare occasions when the narrator stops yammering , miller 's hand often feels unsure .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .


a poignant , artfully crafted meditation on mortality .


shaky close-ups of turkey-on-rolls , stubbly chins , liver spots , red noses and the filmmakers new bobbed do draw easy chuckles but lead nowhere .

sticky sweet sentimentality , clumsy plotting and a rosily myopic view of life in the wwii-era mississippi delta undermine this adaptation .


a celebration of quirkiness , eccentricity , and certain individuals ' tendency to let it all hang out , and damn the consequences .


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

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 weaker .


good old-fashioned slash-and-hack is back !


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

the film 's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .


sade is an engaging look at the controversial eponymous and fiercely atheistic hero .


determined to be fun , and bouncy , with energetic musicals , the humor did n't quite engage this adult .

it 's clear the filmmakers were n't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .


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 .


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 along in some time .

mr. tsai is a very original artist in his medium , and what time is it there ?


mattei is tiresomely grave and long-winded , as if circularity itself indicated profundity .


bennett 's naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .


i am sorry that i was unable to get the full brunt of the comedy .

a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .


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


generally , clockstoppers will fulfill your wildest fantasies about being a different kind of time traveler , while happily killing 94 minutes .

a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear .


not only unfunny , but downright repellent .


the piquant story needs more dramatic meat on its bones .

detox is ultimately a pointless endeavor .


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


this movie is something of an impostor itself , stretching and padding its material in a blur of dead ends and distracting camera work .

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


it 's great escapist fun that recreates a place and time that will never happen again .


in the end , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .


the film is quiet , threatening and unforgettable .


so , too , is this comedy about mild culture clashing in today 's new delhi .

a swashbuckling tale of love , betrayal , revenge and above all , faith .


... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .


detox is ultimately a pointless endeavor .

a by-the-numbers patient\/doctor pic that covers all the usual ground


the wild thornberrys movie is a jolly surprise .


broomfield turns his distinctive ` blundering ' style into something that could really help clear up the case .


it 's clear the filmmakers were n't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .


for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .

when leguizamo finally plugged an irritating character late in the movie .


a taut psychological thriller that does n't waste a moment of its two-hour running time .


verbinski implements every hack-artist trick to give us the ooky-spookies .

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 friendships .


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


however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .


on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion .


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 .

unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .


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


-lrb- a -rrb- n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s .

one of those energetic surprises , an original that pleases almost everyone who sees it .


it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .

manages to be both repulsively sadistic and mundane .


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


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

in a way , the film feels like a breath of fresh air , but only to those that allow it in .


verbinski implements every hack-artist trick to give us the ooky-spookies .


not since tom cruise in risky business has an actor made such a strong impression in his underwear .


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


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

pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .


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


sam mendes has become valedictorian at the school for soft landings and easy ways out .

it showcases carvey 's talent for voices , but not nearly enough and not without taxing every drop of one 's patience to get to the good stuff .


it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .


... the movie is just a plain old monster .

even the finest chef ca n't make a hotdog into anything more than a hotdog , and robert de niro ca n't make this movie anything more than a trashy cop buddy comedy .


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


a strangely compelling and brilliantly acted psychological drama .


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


ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid .

the story and structure are well-honed .


the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .


one of the most significant moviegoing pleasures of the year .

offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .


... is an arthritic attempt at directing by callie khouri .


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


a poignant , artfully crafted meditation on mortality .


hit and miss as far as the comedy goes and a big ole ' miss in the way of story .


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


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

... a magnificent drama well worth tracking down .


comes ... uncomfortably close to coasting in the treads of the bicycle thief .


the title not only describes its main characters , but the lazy people behind the camera as well .


unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .


beautifully observed , miraculously unsentimental comedy-drama .


the best that can be said about the work here of scottish director ritchie ... is that he obviously does n't have his heart in it .


it 's another stale , kill-by-numbers flick , complete with blade-thin characters and terrible , pun-laden dialogue .


audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .


it made me want to wrench my eyes out of my head and toss them at the screen .

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


majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


one of those energetic surprises , an original that pleases almost everyone who sees it .

i just loved every minute of this film .


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

it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .


the story and structure are well-honed .


the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .

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


it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes .


rarely has so much money delivered so little entertainment .

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


candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .


falls neatly into the category of good stupid fun .

it inspires a continuing and deeply satisfying awareness of the best movies as monumental ` picture shows . '


... nothing scary here except for some awful acting and lame special effects .


what the director ca n't do is make either of val kilmer 's two personas interesting or worth caring about .

a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...


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


the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess 's home video of their baby 's birth .


a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .


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 weaker .


it 's great escapist fun that recreates a place and time that will never happen again .


tries to add some spice to its quirky sentiments but the taste is all too familiar .


yakusho and shimizu ... create engaging characterizations in imamura 's lively and enjoyable cultural mix .

an important movie , a reminder of the power of film to move us and to make us examine our values .


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


what better message than ` love thyself ' could young women of any size receive ?


the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger .

having had the good sense to cast actors who are , generally speaking , adored by the movie-going public , khouri then gets terrific performances from them all .


it inspires a continuing and deeply satisfying awareness of the best movies as monumental ` picture shows . '

it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .


a pleasant enough romance with intellectual underpinnings , the kind of movie that entertains even as it turns maddeningly predictable .


not only unfunny , but downright repellent .


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

... the movie is just a plain old monster .


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 .


although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .


the so-inept - it 's - surreal dubbing -lrb- featuring the voices of glenn close , regis philbin and breckin meyer -rrb- brings back memories of cheesy old godzilla flicks .


the subtle strength of `` elling '' is that it never loses touch with the reality of the grim situation .

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


some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .


the overall effect is less like a children 's movie than a recruitment film for future hollywood sellouts .

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


it 's refreshing to see a girl-power movie that does n't feel it has to prove anything .


in exactly 89 minutes , most of which passed as slowly as if i 'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey .

once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back .


one of those energetic surprises , an original that pleases almost everyone who sees it .


escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie .

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


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


challenging , intermittently engrossing and unflaggingly creative .


vera 's technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .


sticky sweet sentimentality , clumsy plotting and a rosily myopic view of life in the wwii-era mississippi delta undermine this adaptation .


a poignant , artfully crafted meditation on mortality .


the wild thornberrys movie is a jolly surprise .

it inspires a continuing and deeply satisfying awareness of the best movies as monumental ` picture shows . '


it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .


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

highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .


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


a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .

it made me want to wrench my eyes out of my head and toss them at the screen .


it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .


the performances take the movie to a higher level .

if steven soderbergh 's ` solaris ' is a failure it is a glorious failure .


in exactly 89 minutes , most of which passed as slowly as if i 'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey .


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

it all drags on so interminably it 's like watching a miserable relationship unfold in real time .


puts a human face on a land most westerners are unfamiliar with .


if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .

it 's difficult to imagine the process that produced such a script , but here 's guessing that spray cheese and underarm noises played a crucial role .


an important movie , a reminder of the power of film to move us and to make us examine our values .


visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .


true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable .

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


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


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

the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .


a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .


it haunts you , you ca n't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it .

audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .


in the end , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .


... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .

the film 's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .


the characters are interesting and often very creatively constructed from figure to backstory .


slapstick buffoonery can tickle many a preschooler 's fancy , but when it costs a family of four about $ 40 to see a film in theaters , why spend money on a dog like this when you can rent a pedigree instead ?

not only unfunny , but downright repellent .


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 .


it 's great escapist fun that recreates a place and time that will never happen again .

the story and structure are well-honed .


moretti 's compelling anatomy of grief and the difficult process of adapting to loss .


` easily my choice for one of the year 's best films . '

candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .


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

even the finest chef ca n't make a hotdog into anything more than a hotdog , and robert de niro ca n't make this movie anything more than a trashy cop buddy comedy .


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


it 's a stunning lyrical work of considerable force and truth .


i 'll bet the video game is a lot more fun than the film .


puts a human face on a land most westerners are unfamiliar with .


i just loved every minute of this film .

and that 's a big part of why we go to the movies .


it 's a cookie-cutter movie , a cut-and-paste job .

it all drags on so interminably it 's like watching a miserable relationship unfold in real time .


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


an important movie , a reminder of the power of film to move us and to make us examine our values .


pumpkin takes an admirable look at the hypocrisy of political correctness , but it does so with such an uneven tone that you never know when humor ends and tragedy begins .


... is an arthritic attempt at directing by callie khouri .

a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...


the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties things together , neatly , by the end .


dull , lifeless , and amateurishly assembled .

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


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


-lrb- lawrence bounces -rrb- all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place .

escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie .


dull , lifeless , and amateurishly assembled .


we know the plot 's a little crazy , but it held my interest from start to finish .

fresnadillo 's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .


nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad acting .


it all drags on so interminably it 's like watching a miserable relationship unfold in real time .

it 's a grab bag of genres that do n't add up to a whole lot of sense .


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


impostor has a handful of thrilling moments and a couple of good performances , but the movie does n't quite fly .

there is n't nearly enough fun here , despite the presence of some appealing ingredients .


mr. tsai is a very original artist in his medium , and what time is it there ?


though only 60 minutes long , the film is packed with information and impressions .

-lrb- lawrence bounces -rrb- all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place .


the iditarod lasts for days - this just felt like it did .


sade is an engaging look at the controversial eponymous and fiercely atheistic hero .

it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


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


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 .

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


it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .


it 's hampered by a lifetime-channel kind of plot and a lead actress who is out of her depth .

rarely has so much money delivered so little entertainment .


a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .


for starters , the story is just too slim .

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


atom egoyan has conjured up a multilayered work that tackles any number of fascinating issues


the film is quiet , threatening and unforgettable .


it 's dumb , but more importantly , it 's just not scary .


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

an important movie , a reminder of the power of film to move us and to make us examine our values .


it takes talent to make a lifeless movie about the most heinous man who ever lived .


affleck and jackson are good sparring partners .

has a lot of the virtues of eastwood at his best .


for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .


you do n't have to know about music to appreciate the film 's easygoing blend of comedy and romance .

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


the humor is forced and heavy-handed , and occasionally simply unpleasant .


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

mr. tsai is a very original artist in his medium , and what time is it there ?


it 's difficult to imagine the process that produced such a script , but here 's guessing that spray cheese and underarm noises played a crucial role .


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 weaker .


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 .


the script kicks in , and mr. hartley 's distended pace and foot-dragging rhythms follow .

i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .


good old-fashioned slash-and-hack is back !

highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .


moretti 's compelling anatomy of grief and the difficult process of adapting to loss .

vera 's technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .


indifferently implausible popcorn programmer of a movie .

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


the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .


the title not only describes its main characters , but the lazy people behind the camera as well .

indifferently implausible popcorn programmer of a movie .


will amuse and provoke adventurous adults in specialty venues .


the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan 's madness .

one of the most significant moviegoing pleasures of the year .


dull , lifeless , and amateurishly assembled .


on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion .

... a magnificent drama well worth tracking down .


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


a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .

scooby dooby doo \/ and shaggy too \/ you both look and sound great .


despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults .


audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .

has a lot of the virtues of eastwood at his best .


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


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


if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .


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

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


however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .


it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .


adults will wish the movie were less simplistic , obvious , clumsily plotted and shallowly characterized .

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


so , too , is this comedy about mild culture clashing in today 's new delhi .


atom egoyan has conjured up a multilayered work that tackles any number of fascinating issues

a beguiling splash of pastel colors and prankish comedy from disney .


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

a broad , melodramatic estrogen opera that 's pretty toxic in its own right .


` de niro ... is a veritable source of sincere passion that this hollywood contrivance orbits around . '


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

but it 's too long and too convoluted and it ends in a muddle .


intriguing documentary which is emotionally diluted by focusing on the story 's least interesting subject .


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

sade is an engaging look at the controversial eponymous and fiercely atheistic hero .


indifferently implausible popcorn programmer of a movie .


the film flat lines when it should peak and is more missed opportunity and trifle than dark , decadent truffle .

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


a swashbuckling tale of love , betrayal , revenge and above all , faith .


will amuse and provoke adventurous adults in specialty venues .


in exactly 89 minutes , most of which passed as slowly as if i 'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey .


in a way , the film feels like a breath of fresh air , but only to those that allow it in .

whether writer-director anne fontaine 's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .


this is wild surreal stuff , but brilliant and the camera just kind of sits there and lets you look at this and its like you 're going from one room to the next and none of them have any relation to the other .

the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination .


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


candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .


sticky sweet sentimentality , clumsy plotting and a rosily myopic view of life in the wwii-era mississippi delta undermine this adaptation .


and that 's a big part of why we go to the movies .

escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie .


here 's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep .


offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .

it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .


` de niro ... is a veritable source of sincere passion that this hollywood contrivance orbits around . '


just embarrassment and a vague sense of shame .


drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why .

majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .


nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad 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 friendships .


pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical .


dense with characters and contains some thrilling moments .

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


indifferently implausible popcorn programmer of a movie .


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

sam mendes has become valedictorian at the school for soft landings and easy ways out .


i just loved every minute of this film .


highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .

` easily my choice for one of the year 's best films . '


the so-inept - it 's - surreal dubbing -lrb- featuring the voices of glenn close , regis philbin and breckin meyer -rrb- brings back memories of cheesy old godzilla flicks .


sit through this one , and you wo n't need a magic watch to stop time ; your dvd player will do it for you .

an unclassifiably awful study in self - and audience-abuse .


the cold turkey would 've been a far better title .

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


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


rare birds has more than enough charm to make it memorable .

the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing .


even on those rare occasions when the narrator stops yammering , miller 's hand often feels unsure .


it showcases carvey 's talent for voices , but not nearly enough and not without taxing every drop of one 's patience to get to the good stuff .

his last movie was poetically romantic and full of indelible images , but his latest has nothing going for it .


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 along in some time .


a by-the-numbers patient\/doctor pic that covers all the usual ground

but it 's too long and too convoluted and it ends in a muddle .


it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .


having had the good sense to cast actors who are , generally speaking , adored by the movie-going public , khouri then gets terrific performances from them all .

visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .


it 's refreshing to see a girl-power movie that does n't feel it has to prove anything .

offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .


because of an unnecessary and clumsy last scene , ` swimfan ' left me with a very bad feeling .


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

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 .


does little more than play an innocuous game of fill-in - the-blanks with a tragic past .


for the first time in years , de niro digs deep emotionally , perhaps because he 's been stirred by the powerful work of his co-stars .

the story and structure are well-honed .


pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .


majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .


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


a quiet treasure -- a film to be savored .

a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .


... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .


it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


the best that can be said about the work here of scottish director ritchie ... is that he obviously does n't have his heart in it .


even the finest chef ca n't make a hotdog into anything more than a hotdog , and robert de niro ca n't make this movie anything more than a trashy cop buddy comedy .

impostor has a handful of thrilling moments and a couple of good performances , but the movie does n't quite fly .


audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .


what better message than ` love thyself ' could young women of any size receive ?

so , too , is this comedy about mild culture clashing in today 's new delhi .


it 's hampered by a lifetime-channel kind of plot and a lead actress who is out of her depth .


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

when leguizamo finally plugged an irritating character late in the movie .


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


because of an unnecessary and clumsy last scene , ` swimfan ' left me with a very bad feeling .

a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .


one of the most significant moviegoing pleasures of the year .


the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties things together , neatly , by the end .


a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...


a swashbuckling tale of love , betrayal , revenge and above all , faith .

with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie .


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


majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .

drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why .


moretti 's compelling anatomy of grief and the difficult process of adapting to loss .


tries to add some spice to its quirky sentiments but the taste is all too familiar .

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


the film is quiet , threatening and unforgettable .


pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical .

has a lot of the virtues of eastwood at his best .


this is a shameless sham , calculated to cash in on the popularity of its stars .


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

a broad , melodramatic estrogen opera that 's pretty toxic in its own right .


for the most part , director anne-sophie birot 's first feature is a sensitive , extraordinarily well-acted drama .


when leguizamo finally plugged an irritating character late in the movie .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .


candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .


the story and structure are well-honed .

pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical .


another in-your-face wallow in the lower depths made by people who have never sung those blues .


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

it 's refreshing to see a girl-power movie that does n't feel it has to prove anything .


determined to be fun , and bouncy , with energetic musicals , the humor did n't quite engage this adult .


blanchett 's performance confirms her power once again .


pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .


feels haphazard , as if the writers mistakenly thought they could achieve an air of frantic spontaneity by simply tossing in lots of characters doing silly stuff and stirring the pot .

the cold turkey would 've been a far better title .


it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience .


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

and that 's a big part of why we go to the movies .


villeneuve spends too much time wallowing in bibi 's generic angst -lrb- there are a lot of shots of her gazing out windows -rrb- .

manages to be both repulsively sadistic and mundane .


it proves quite compelling as an intense , brooding character study .


comes ... uncomfortably close to coasting in the treads of the bicycle thief .

manages to show life in all of its banality when the intention is quite the opposite .


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


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

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


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


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

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


reggio 's continual visual barrage is absorbing as well as thought-provoking .


... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .


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


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


despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults .


pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .

feels haphazard , as if the writers mistakenly thought they could achieve an air of frantic spontaneity by simply tossing in lots of characters doing silly stuff and stirring the pot .


one of those energetic surprises , an original that pleases almost everyone who sees it .


not only unfunny , but downright repellent .

does little more than play an innocuous game of fill-in - the-blanks with a tragic past .


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


another in-your-face wallow in the lower depths made by people who have never sung those blues .


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

what better message than ` love thyself ' could young women of any size receive ?


despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults .

rarely has so much money delivered so little entertainment .


a good piece of work more often than not .


its well of thorn and vinegar -lrb- and simple humanity -rrb- has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .

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


if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther 's story is a compelling quest for truth .

a beguiling splash of pastel colors and prankish comedy from disney .


the notion that bombing buildings is the funniest thing in the world goes entirely unexamined in this startlingly unfunny comedy .


michael gerbosi 's script is economically packed with telling scenes .

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


verbinski implements every hack-artist trick to give us the ooky-spookies .


-lrb- t -rrb- here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .

an unclassifiably awful study in self - and audience-abuse .


it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .


i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .

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


if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther 's story is a compelling quest for truth .


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

rare birds has more than enough charm to make it memorable .


... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .


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

i 'll bet the video game is a lot more fun than the film .


a strangely compelling and brilliantly acted psychological drama .


just embarrassment and a vague sense of shame .

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


so , too , is this comedy about mild culture clashing in today 's new delhi .


the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination .

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 .


it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .


more romantic , more emotional and ultimately more satisfying than the teary-eyed original .

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


nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad acting .


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

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


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

no way i can believe this load of junk .


will amuse and provoke adventurous adults in specialty venues .

awesome creatures , breathtaking scenery , and epic battle scenes add up to another ` spectacular spectacle . '


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


awesome creatures , breathtaking scenery , and epic battle scenes add up to another ` spectacular spectacle . '


it 's clear the filmmakers were n't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .


trademark american triteness and simplicity are tossed out the window with the intelligent french drama that deftly explores the difficult relationship between a father and son .

the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger .


every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .


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

although huppert 's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .


has a lot of the virtues of eastwood at his best .


not since tom cruise in risky business has an actor made such a strong impression in his underwear .

what better message than ` love thyself ' could young women of any size receive ?


it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .


a beguiling splash of pastel colors and prankish comedy from disney .

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


the words , ` frankly , my dear , i do n't give a damn , ' have never been more appropriate .


a celebration of quirkiness , eccentricity , and certain individuals ' tendency to let it all hang out , and damn the consequences .


it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .

in exactly 89 minutes , most of which passed as slowly as if i 'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey .


not since tom cruise in risky business has an actor made such a strong impression in his underwear .


but the power of these -lrb- subjects -rrb- is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .

the film flat lines when it should peak and is more missed opportunity and trifle than dark , decadent truffle .


with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie .


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 .

audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .


if looking for a thrilling sci-fi cinematic ride , do n't settle for this imposter .

... the movie is just a plain old monster .


rare birds has more than enough charm to make it memorable .


at its worst , it implodes in a series of very bad special effects .

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


one of the most significant moviegoing pleasures of the year .


while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .

when leguizamo finally plugged an irritating character late in the movie .


challenging , intermittently engrossing and unflaggingly creative .


the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess 's home video of their baby 's birth .


the wild thornberrys movie is a jolly surprise .


every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable .


offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .