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

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


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


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

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


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


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 .


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


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

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


will amuse and provoke adventurous adults in specialty venues .


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

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


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


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

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 .


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


indifferently implausible popcorn programmer of a movie .

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


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

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- .


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 .

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


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

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


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


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


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 .

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


it 's 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 .

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


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


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

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 .


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


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


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


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

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


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 .


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

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


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 .


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

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


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

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


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 .

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


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 .


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

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 .


beautifully observed , miraculously unsentimental comedy-drama .


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


for starters , the story is just too slim .


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

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 .


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


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 .

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


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


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 .

challenging , intermittently engrossing and unflaggingly creative .


no way i can believe this load of junk .


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

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


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


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

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


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 .


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


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


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 .

a good piece of work more often than not .


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


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

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 .


dense with characters and contains some thrilling moments .

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


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


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

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


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


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

this 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 .


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

dull , lifeless , and amateurishly assembled .


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


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

for starters , the story is just too slim .


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


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


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


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

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


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


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

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


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


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 poignant , artfully crafted meditation on mortality .


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

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


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

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


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 .

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


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


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


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


a quiet treasure -- a film to be savored .

one of the most significant moviegoing pleasures of the year .


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


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

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


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


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

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


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


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

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


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 .

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


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


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

trite , banal , cliched , mostly inoffensive .


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


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

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


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

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 .


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

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


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 .


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

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


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


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

the story and structure are well-honed .


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


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

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


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 .


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

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


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 .


the story and structure are well-honed .

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


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


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


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


blanchett 's performance confirms her power once again .

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


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


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 .

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 .


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


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


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

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


the wild thornberrys movie is a jolly surprise .


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

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 .


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


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

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


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

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


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 .


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

detox is ultimately a pointless endeavor .


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

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


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 .


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 .


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 .

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 .


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


not only unfunny , but downright repellent .

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


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

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


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 .


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

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 .


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


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 .

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


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


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 .

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


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


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

the film is quiet , threatening and unforgettable .


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


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

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


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


-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 .

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


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

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 '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 .


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


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


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

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


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 .


just embarrassment and a vague sense of shame .

rarely has so much money delivered so little entertainment .


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

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


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


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


indifferently implausible popcorn programmer of a movie .


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

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


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 .


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 .

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


dense with characters and contains some thrilling moments .


will amuse and provoke adventurous adults in specialty venues .

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


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

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


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


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 .

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


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


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

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


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


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

... a magnificent drama well worth tracking down .


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


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

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


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

detox is ultimately a pointless endeavor .


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


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

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


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


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


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


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 .

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 .


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


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

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


beautifully observed , miraculously unsentimental comedy-drama .


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

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


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


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 .

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


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 .


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


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

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


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


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 .

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


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 .


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

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


no way i can believe this load of junk .


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


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

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 .


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

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


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


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

one of the most significant moviegoing pleasures of the year .


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


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

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


affleck and jackson are good sparring partners .


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

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


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


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


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

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 .


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


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

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


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 .

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


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 !

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


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


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

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 .


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 .


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

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


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


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- .

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


the story and structure are well-honed .


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


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


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 .


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

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


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


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

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


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


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

will amuse and provoke adventurous adults in specialty venues .


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

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


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 .


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

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


i just loved every minute of this film .


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


a poignant , artfully crafted meditation on mortality .

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


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

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 .


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


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 .

detox is ultimately a pointless endeavor .


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

a quiet treasure -- a film to be savored .


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 .


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

blanchett 's performance confirms her power once again .


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


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 .

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


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

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


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


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

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


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 .


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


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


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


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


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

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


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


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

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 .


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 .


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

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 .


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

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


uses high comedy to evoke surprising poignance .


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


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


uses high comedy to evoke surprising poignance .

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


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


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

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


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


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


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


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 .

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


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


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

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


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


... a magnificent drama well worth tracking down .

blanchett 's performance confirms her power once again .


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


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

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


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 .

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


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


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

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


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 .


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

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


the wild thornberrys movie is a jolly surprise .


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 .

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


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


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 .

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


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


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

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 .


for starters , the story is just too slim .


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

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


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


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


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

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


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 .


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


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


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


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


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


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


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

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


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 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 .

trite , banal , cliched , mostly inoffensive .


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


manages to be both repulsively sadistic and mundane .


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 .


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 .

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


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


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

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


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 .

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


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

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 .


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


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 .

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


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 .


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

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 .


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 .


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


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


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

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


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


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 .

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


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


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


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

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


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


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


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

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


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


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

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 .


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 .


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

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


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

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


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

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 only unfunny , but downright repellent .


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

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


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


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

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


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


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

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


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


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

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


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


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


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


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 .

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 human comedy at its most amusing , interesting and confirming .


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

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


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


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

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 .


dense with characters and contains some thrilling moments .


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

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 .


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


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

... a magnificent drama well worth tracking down .


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


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 .

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


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


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 .


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

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 .


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 .


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

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


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


a poignant , artfully crafted meditation on mortality .


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


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 .

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- .


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


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

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


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


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

the wild thornberrys movie is a jolly surprise .


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


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

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


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 .

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


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


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

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


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

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


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


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


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

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 .


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

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


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


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

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


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


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 .

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


a good piece of work more often than not .


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

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


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


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

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


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


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

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


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


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 .

falls neatly into the category of good stupid fun .


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


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

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


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


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

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 .


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

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 .


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 .


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


a strangely compelling and brilliantly acted psychological drama .


the piquant story needs more dramatic meat on its bones .

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


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


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

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


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

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


dense with characters and contains some thrilling moments .


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

not only is undercover brother as funny , if not more so , than both austin powers films , but it 's also one of the smarter , savvier spoofs to come along in some time .


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


detox is ultimately a pointless endeavor .

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


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


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

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 .


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


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


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


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


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


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

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- .


a strangely compelling and brilliantly acted psychological drama .


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


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

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


not only unfunny , but downright repellent .


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


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


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 .

one of the most significant moviegoing pleasures of the year .


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


challenging , intermittently engrossing and unflaggingly creative .


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


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

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


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 .


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

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 .


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

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


a poignant , artfully crafted meditation on mortality .


a strangely compelling and brilliantly acted psychological drama .

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


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


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 .

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


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 .

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


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


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 .


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


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

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


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


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


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


beautifully observed , miraculously unsentimental comedy-drama .

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


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

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


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


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

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


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

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 .


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

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


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


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

the performances take the movie to a higher level .


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


rarely has so much money delivered so little entertainment .

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


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


falls neatly into the category of good stupid fun .


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


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


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


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

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


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


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 .

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


dense with characters and contains some thrilling moments .


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


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

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


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


affleck and jackson are good sparring partners .


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

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


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


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

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 piquant story needs more dramatic meat on its bones .


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


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


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


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


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


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

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


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


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

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


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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 .

falls neatly into the category of good stupid fun .


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


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

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


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


the wild thornberrys movie is a jolly surprise .

... a magnificent drama well worth tracking down .


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


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

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


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 .

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


the performances take the movie to a higher level .

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


for starters , the story is just too slim .


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

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


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 .

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 .


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


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


rarely has so much money delivered so little entertainment .


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

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


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


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 .

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


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

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


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 .


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


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

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


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


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

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 .


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 .

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 magnificent drama well worth tracking down .


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 .

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


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 .

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


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


i just loved every minute of this film .

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


the 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 .


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

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


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


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

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


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 .


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

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 .


the film is quiet , threatening and unforgettable .


dull , lifeless , and amateurishly assembled .

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


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


-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 .

i just loved every minute of this film .


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


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

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


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

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


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

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


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


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

blanchett 's performance confirms her power once again .


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


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

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


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


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

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


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


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

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 .


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


for starters , the story is just too slim .

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


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


the film is quiet , threatening and unforgettable .

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 .


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


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 .


affleck and jackson are good sparring partners .

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


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


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

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


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 .


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

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


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


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


challenging , intermittently engrossing and unflaggingly creative .


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

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


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 .


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


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


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

no way i can believe this load of junk .


indifferently implausible popcorn programmer of a movie .

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 .


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


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

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


not only is undercover brother as funny , if not more so , than both austin powers films , but it 's also one of the smarter , savvier spoofs to come along in some time .


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

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


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


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


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


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

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


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


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 .

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


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


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 .

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


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


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

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


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


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


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

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


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


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

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 .


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


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

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


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


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 .

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


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


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

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


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


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


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

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


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


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


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 .

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


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

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


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


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

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 .


detox is ultimately a pointless endeavor .


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

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


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


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 .

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 .


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

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 .


i just loved every minute of this film .


dense with characters and contains some thrilling moments .

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


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


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

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


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


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


the 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 .


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

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


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


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


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 .

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 .


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

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


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


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 .

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


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


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

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


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


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

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


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