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

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 .


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 .


detox is ultimately a pointless endeavor .

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


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 .


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


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


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


a good piece of work more often than not .


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

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 .


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

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


i just loved every minute of this film .


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 .

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


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 .


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


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


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

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


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


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 .

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


for starters , the story is just too slim .


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


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 .


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

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


a quiet treasure -- a film to be savored .


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


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


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

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


a strangely compelling and brilliantly acted psychological drama .

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


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 .

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


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


one of the most significant moviegoing pleasures of the year .

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


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 .


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 .


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

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


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


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

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 .


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


beautifully observed , miraculously unsentimental comedy-drama .

i just loved every minute of this film .


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 .


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

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


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


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

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


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


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

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


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


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


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


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

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


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 .


rarely has so much money delivered so little entertainment .

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 film is quiet , threatening and unforgettable .


falls neatly into the category of good stupid fun .

-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 .


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


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

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


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

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


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 .


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

it 's 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 .


dense with characters and contains some thrilling moments .


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


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


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

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 .


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


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


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


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

uses high comedy to evoke surprising poignance .


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 .


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

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


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


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

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


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


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

dull , lifeless , and amateurishly assembled .


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 .


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 .


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


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

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


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

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


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


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

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


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


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

... a magnificent drama well worth tracking down .


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


challenging , intermittently engrossing and unflaggingly creative .

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


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


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

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


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 .


the wild thornberrys movie is a jolly surprise .

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 .


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


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

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


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


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

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 performances take the movie to a higher level .

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


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

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


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


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 .

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 .


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


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 .


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


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

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 .


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


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

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


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


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 .

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


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


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

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


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 ?

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


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


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


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

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 .


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 .

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


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


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 .

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


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


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

just embarrassment and a vague sense of shame .


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


i just loved every minute of this film .

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


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


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

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 .


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 .


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


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


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

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


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 .


dull , lifeless , and amateurishly assembled .


-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 .

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 .


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 .


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

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


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


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

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


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


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

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


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 .


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

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


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 .


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

i just loved every minute of this film .


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


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 .

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


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


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

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


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


for starters , the story is just too slim .

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 .


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


the film is quiet , threatening and unforgettable .

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


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


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 .

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


affleck and jackson are good sparring partners .

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


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 .


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

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


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 .


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

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


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


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 .


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


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

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


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


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

one of the most significant moviegoing pleasures of the year .


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


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

rarely has so much money delivered so little entertainment .


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 .

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


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 .


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

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


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


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


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


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

the story and structure are well-honed .


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

the wild thornberrys movie is a jolly surprise .


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


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 .


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


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 .

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 .

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


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


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


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


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

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


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


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

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


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


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

not only unfunny , but downright repellent .


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

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


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


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 .


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


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

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


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 .


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

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


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 .


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 .

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


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


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


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


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

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


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

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


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 . '

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


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


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 .

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


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


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

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


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


dense with characters and contains some thrilling moments .

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 .

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


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 .


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

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


-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 .


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

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


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

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 .


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


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

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


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 .

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 .


beautifully observed , miraculously unsentimental comedy-drama .


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


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


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 .

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


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


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

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 .


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

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


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


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 .

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


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


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 .


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


a quiet treasure -- a film to be savored .

-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 .


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


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

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


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


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 .

trite , banal , cliched , mostly inoffensive .


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 .


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

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


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


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


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 .


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

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


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


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

uses high comedy to evoke surprising poignance .


no way i can believe this load of junk .


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

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


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


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


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

manages to be both repulsively sadistic and mundane .


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 .


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

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


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


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

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 .


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 .


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

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 .


falls neatly into the category of good stupid fun .


the story and structure are well-honed .


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

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


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 .


blanchett 's performance confirms her power once again .


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


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 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 .


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


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

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


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


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

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 .


will amuse and provoke adventurous adults in specialty venues .


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

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


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


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

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


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

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 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 .


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

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


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 .


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


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


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


one of the most significant moviegoing pleasures of the year .


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

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 .


not only unfunny , but downright repellent .

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


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


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


dense with characters and contains some thrilling moments .


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

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


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


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 .


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


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


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


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 .

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


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


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

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


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


-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 .

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


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 .


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


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


just embarrassment and a vague sense of shame .


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


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


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


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

one of the most significant moviegoing pleasures of the year .


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


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

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


indifferently implausible popcorn programmer of a movie .


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

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


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


will amuse and provoke adventurous adults in specialty venues .

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 .


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


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

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 .


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


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 .

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


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


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

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 .


the story and structure are well-honed .


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

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


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


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

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


detox is ultimately a pointless endeavor .


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

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


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


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 .

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


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


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


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


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 .

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


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


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

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


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


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

manages to be both repulsively sadistic and mundane .


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 .

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


the performances take the movie to a higher level .


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 .


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

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 .


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 .


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 .

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


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


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


no way i can believe this load of junk .

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


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


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

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


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

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 .


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


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

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


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


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

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 .


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


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 .


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


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 .


just embarrassment and a vague sense of shame .


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

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


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 .


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 .

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 .


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


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 .

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


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


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


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 .


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

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


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


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


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


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- .

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


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


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


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


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


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

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


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


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

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


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


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

a poignant , artfully crafted meditation on mortality .


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 .


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

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


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 .


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

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 .


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


a strangely compelling and brilliantly acted psychological drama .


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


a poignant , artfully crafted meditation on mortality .

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


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 .


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

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


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


the 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 .

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


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

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


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


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

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 .


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


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 .

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


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 .


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 .

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 .


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


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 .


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 .


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 .


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 .


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


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 .


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

uses high comedy to evoke surprising poignance .


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

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


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


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

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


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 .


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

indifferently implausible popcorn programmer of a movie .


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


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


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 .


uses high comedy to evoke surprising poignance .

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


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


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

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


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


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

detox is ultimately a pointless endeavor .


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 .


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 .

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 .


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


-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 magnificent drama well worth tracking down .

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 .


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


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

a strangely compelling and brilliantly acted psychological drama .


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 .


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


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

will amuse and provoke adventurous adults in specialty venues .


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


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

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


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 .


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 .

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


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


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 .


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


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

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


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


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


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


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


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


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

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


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


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

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


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


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

just embarrassment and a vague sense of shame .


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


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

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 .


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 .


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

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 .


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 .


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 .

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


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 .

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


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 .


manages to be both repulsively sadistic and mundane .

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


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

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


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


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 .

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


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


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

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


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


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

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 .


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 .


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

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


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


the story and 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 .

detox is ultimately a pointless endeavor .


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


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

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


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 .


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

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


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 .


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

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


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


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

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


the film is quiet , threatening and unforgettable .


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 .

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


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


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


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

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


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 .


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


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


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

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


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


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

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


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


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


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

the 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 .


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


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

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


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


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

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


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

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


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 .


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 .

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


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


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

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


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


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


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 .

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


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


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

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


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


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

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


the film is quiet , threatening and unforgettable .


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

just embarrassment and a vague sense of shame .


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


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

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 .


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


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 .


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


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 .

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 .


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


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


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


a strangely compelling and brilliantly acted psychological drama .


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


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 .

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


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


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

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


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

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


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 .

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


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 .


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

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


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


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

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


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 .


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

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


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


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 .


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


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

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


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


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 .


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

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


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 .


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 .

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


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 .


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

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


a good piece of work more often than not .


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

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


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


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


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


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 .

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


indifferently implausible popcorn programmer of a movie .


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

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


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 .


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

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 .


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


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

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 .


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


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


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 piquant story needs more dramatic meat on its bones .

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


uses high comedy to evoke surprising poignance .


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

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


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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


detox is ultimately a pointless endeavor .

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


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


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


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


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 .

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


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


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

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


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


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

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


a good piece of work more often than not .


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 .

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 .


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


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

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


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


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

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


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


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 .


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


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


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

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


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


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

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 movie is just a plain old monster .

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 .


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 .


a strangely compelling and brilliantly acted psychological drama .

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 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 .


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 .

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


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 .


one of the most significant moviegoing pleasures of the year .

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


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


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


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


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

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 .


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


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

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


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


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 .


challenging , intermittently engrossing and unflaggingly creative .


beautifully observed , miraculously unsentimental comedy-drama .

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


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


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

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 ?


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


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

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


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 .


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

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


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


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

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 .


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


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 .


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


rarely has so much money delivered so little entertainment .

-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 .


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 .


falls neatly into the category of good stupid fun .


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 .


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


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


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 .


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


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

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 .