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 .

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


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 .


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 .

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


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


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

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


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


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

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


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


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 .


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 .

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 .


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


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

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 .


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


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

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


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 .


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 .

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


dense with characters and contains some thrilling moments .


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

-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 .


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


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

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


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


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

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


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


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 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 .


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


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

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


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


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


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


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


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


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 .

detox is ultimately a pointless endeavor .


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 .


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

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


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 .


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

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


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

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


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 .


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 .


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


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

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


falls neatly into the category of good stupid fun .


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

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 .


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 .


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

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


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


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


the piquant story needs more dramatic meat on its bones .

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


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


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

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


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


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

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 .


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


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

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


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 .


detox is ultimately a pointless endeavor .


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


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

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


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


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 .

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


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


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


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


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


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 .

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


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


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

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 .


for starters , the story is just too slim .


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

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 .


challenging , intermittently engrossing and unflaggingly creative .


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 .

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 .


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


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


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


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

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


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


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

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


i just loved every minute of this film .


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

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


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


a strangely compelling and brilliantly acted psychological drama .

affleck and jackson are good sparring partners .


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 .


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


one of the most significant moviegoing pleasures of the year .


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


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


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

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 .


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 .


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

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


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


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 .


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 .


beautifully observed , miraculously unsentimental comedy-drama .

a quiet treasure -- a film to be savored .


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


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

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 .


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


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

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


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


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

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


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


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


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


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


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


rarely has so much money delivered so little entertainment .

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 .


falls neatly into the category of good stupid fun .

a poignant , artfully crafted meditation on mortality .


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


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

detox is ultimately a pointless endeavor .


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


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 .

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 .


blanchett 's performance confirms her power once again .


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


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


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 .


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


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

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


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


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


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


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

falls neatly into the category of good stupid fun .


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


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

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


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

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


not only unfunny , but downright repellent .


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

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 .


a poignant , artfully crafted meditation on mortality .


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


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


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

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


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

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 .


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 .


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 .

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


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

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


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


challenging , intermittently engrossing and unflaggingly creative .

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 .


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


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

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 .


affleck and jackson are good sparring partners .


the wild thornberrys movie is a jolly surprise .

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 .


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


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

-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 .


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

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 .


will amuse and provoke adventurous adults in specialty venues .


the performances take the movie to a higher level .

falls neatly into the category of good stupid fun .


dull , lifeless , and amateurishly assembled .


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

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


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 .

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


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 .


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


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

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


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

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


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


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 .

uses high comedy to evoke surprising poignance .


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 .

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


... a magnificent drama well worth tracking down .


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 ?


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


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


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 .

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


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


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 .

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


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


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


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 .


i just loved every minute of this film .


the piquant story needs more dramatic meat on its bones .


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

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


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

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


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

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


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


dull , lifeless , and amateurishly assembled .

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 .


-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 .


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


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

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 .


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


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


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


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

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


the film is quiet , threatening and unforgettable .


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

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 .


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


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

dense with characters and contains some thrilling moments .


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


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 .

one of the most significant moviegoing pleasures of the year .


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

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


for starters , the story is just too slim .

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


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


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


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


affleck and jackson are good sparring partners .

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


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


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

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


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


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


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


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 .


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

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 .


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


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

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


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


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

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


indifferently implausible popcorn programmer of a movie .

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


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


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


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


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 .

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 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 .


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


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


the piquant story needs more dramatic meat on its bones .


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 .


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 .


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 .

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


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

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


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


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 .


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

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


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


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


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


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

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


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


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 .

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


rarely has so much money delivered so little entertainment .


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

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


i just loved every minute of this film .


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


detox is ultimately a pointless endeavor .


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

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 .


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 .


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 .

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


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


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


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

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


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


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

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


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


` 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 .

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


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


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

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


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


dense with characters and contains some thrilling moments .

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


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


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

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 .


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 .


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


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


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 .


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


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

trite , banal , cliched , mostly inoffensive .


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


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

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


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


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 .

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


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


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

for starters , the story is just too slim .


-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 .


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 .

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


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

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


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


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

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


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 .


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 .

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


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


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


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 .


a quiet treasure -- a film to be savored .

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


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

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 .


the piquant story needs more dramatic meat on its bones .


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 .

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


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 .


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 .


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


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


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


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


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


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

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


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


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

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


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

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


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

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


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


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

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


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


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

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


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 .


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

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


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


the story and structure are well-honed .

the performances take the movie to a higher level .


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


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

dense with characters and contains some thrilling moments .


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


blanchett 's performance confirms her power once again .

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


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 .


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 .

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


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


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

a poignant , artfully crafted meditation on mortality .


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


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

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 .


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

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


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


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

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


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

not only unfunny , but downright repellent .


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 .


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

the piquant story needs more dramatic meat on its bones .


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 .


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

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


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 .


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


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


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 .

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


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


not only unfunny , but downright repellent .

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 .


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


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

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


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


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

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


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 ?


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 .

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


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 .


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


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 .

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


dull , lifeless , and amateurishly assembled .


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

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


-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 .

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


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


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

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 .


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 .


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

uses high comedy to evoke surprising poignance .


... 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 .

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


the performances take the movie to a higher level .


just embarrassment and a vague sense of shame .

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


dense with characters and contains some thrilling moments .


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


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 .


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

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 .


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


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

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


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


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


will amuse and provoke adventurous adults in specialty venues .


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


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

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


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 .


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 .

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


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


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

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 .


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


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

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


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 .


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


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


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


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 .


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 .

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


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 .


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 .

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


uses high comedy to evoke surprising poignance .


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 .


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

indifferently implausible popcorn programmer of a movie .


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

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


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


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 .

just embarrassment and a vague sense of shame .


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


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 .


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

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


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


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 .


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 .


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

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


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


no way i can believe this load of junk .

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


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 .


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

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


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 .


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

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


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


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

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


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 .


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

manages to be both repulsively sadistic and mundane .


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


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

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


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 .


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


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


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

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


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


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 .

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


a poignant , artfully crafted meditation on mortality .


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 .

the film is quiet , threatening and unforgettable .


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 .


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

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


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


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


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


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


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


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- .

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 .


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 .


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


dense with characters and contains some thrilling moments .


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


a strangely compelling and brilliantly acted psychological drama .


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

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 .


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


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

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


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

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 .


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


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

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


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

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


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


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


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


a poignant , artfully crafted meditation on mortality .

will amuse and provoke adventurous adults in specialty venues .


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


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

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


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 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 .


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

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


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


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

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


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


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 .

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 .


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 .


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 .

no way i can believe this load of junk .


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

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


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


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


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


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

trite , banal , cliched , mostly inoffensive .


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


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

a poignant , artfully crafted meditation on mortality .


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


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

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


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


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

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


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

the piquant story needs more dramatic meat on its bones .


dense with characters and contains some thrilling moments .


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 .


uses high comedy to evoke surprising poignance .

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


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


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

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


challenging , intermittently engrossing and unflaggingly creative .


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

for starters , the story is just too slim .


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 .

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 proves quite compelling as an intense , brooding character study .

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


dull , lifeless , and amateurishly assembled .


... a magnificent drama well worth tracking down .


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


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

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 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 .


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 .

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


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


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

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


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 .


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

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


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


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 .

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


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


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 .

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


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


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

will amuse and provoke adventurous adults in specialty venues .


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


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

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


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 .


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 .


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


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

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 .


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

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


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 .


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

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


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

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


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


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


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 .

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 .


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


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 .

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


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


manages to be both repulsively sadistic and mundane .

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


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


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


a quiet treasure -- a film to be savored .


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 .

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 .


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


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

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


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 .


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

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


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


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

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 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 piquant story needs more dramatic meat on its bones .


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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 .


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

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


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

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


-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 .


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 .

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


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


the story and structure are well-honed .


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


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

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


beautifully observed , miraculously unsentimental comedy-drama .


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

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


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


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

i just loved every minute of this film .


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 .


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


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 .

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


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


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

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 .


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


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

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


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

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 .


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 .

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


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

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


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 .


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 .


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


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 .


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

a quiet treasure -- a film to be savored .


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


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

manages to be both repulsively sadistic and mundane .


a poignant , artfully crafted meditation on mortality .


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

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


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


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

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


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


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 .

challenging , intermittently engrossing and unflaggingly creative .


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 .


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 .

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


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


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

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


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

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


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


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


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


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

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


the story and structure are well-honed .


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

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


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


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 .

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


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 .


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

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


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

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


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

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


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


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 .

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


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

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


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


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

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 .


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


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

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


one of the most significant moviegoing pleasures of the year .


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 .

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


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


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

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 .


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


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

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


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 .


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

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


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


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 .

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 .


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


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

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


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 .


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


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


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

uses high comedy to evoke surprising poignance .


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


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


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


the piquant story needs more dramatic meat on its bones .

manages to be both repulsively sadistic and mundane .


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


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


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


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


... a magnificent drama well worth tracking down .


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

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


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


detox is ultimately a pointless endeavor .

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 .


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

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 .


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 .

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


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


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

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


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 .


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

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 .


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


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 .

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 .


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 .


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

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


indifferently implausible popcorn programmer of a movie .


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

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


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


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 .

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


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


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 .


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

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


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

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


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 .


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


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


a strangely compelling and brilliantly acted psychological drama .

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


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 .


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 .

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


the piquant story needs more dramatic meat on its bones .


one of the most significant moviegoing pleasures of the year .

dense with characters and contains some thrilling moments .


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