... a magnificent drama well worth tracking down .

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 .


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 .

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


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


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 .

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


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


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

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


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


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

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


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


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

it 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 .


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 .


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 .

falls neatly into the category of good stupid fun .


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

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


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


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

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 .


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 .


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


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

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 .


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


a strangely compelling and brilliantly acted psychological drama .


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

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


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 .


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

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


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


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 .

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 .


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


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 .

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


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 .


manages to be both repulsively sadistic and mundane .

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


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

indifferently implausible popcorn programmer of a movie .


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


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 .

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 .


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


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

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


rarely has so much money delivered so little entertainment .


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

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 .


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 .


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

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


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


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 .

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 .


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


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


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

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 .


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


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

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


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

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


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


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 .

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


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


a good piece of work more often than not .


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


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


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


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


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

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


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


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


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


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

affleck and jackson are good sparring partners .


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


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

... a magnificent drama well worth tracking down .


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


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

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


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


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

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


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


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

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


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


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 .

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 .


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


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

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


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


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


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 .


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

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


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


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


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


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

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 .


beautifully observed , miraculously unsentimental comedy-drama .


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

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


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


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 .

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


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


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 .

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


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


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


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


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

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 .


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


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


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


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 .

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 .


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

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 .


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


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


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

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


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


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

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


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


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

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


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

will amuse and provoke adventurous adults in specialty venues .


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


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 .

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


dense with characters and contains some thrilling moments .


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

challenging , intermittently engrossing and unflaggingly creative .


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

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


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 .

dull , lifeless , and amateurishly assembled .


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 .


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 .

for starters , the story is just too slim .


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 .


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

indifferently implausible popcorn programmer of a movie .


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


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

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 .


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 .


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

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


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


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 .

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


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


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

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


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


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

the piquant story needs more dramatic meat on its bones .


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


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

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


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


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


the piquant story needs more dramatic meat on its bones .

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


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

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 .


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


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

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


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


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

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


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


detox is ultimately a pointless endeavor .

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


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


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

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 .


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


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 .


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

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


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


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

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


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


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 .

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


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


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


trite , banal , cliched , mostly inoffensive .


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

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


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


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 .

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


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


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


dull , lifeless , and amateurishly assembled .


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

detox is ultimately a pointless endeavor .


-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 .


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


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 movie is just a plain old monster .

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


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


a strangely compelling and brilliantly acted psychological drama .

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


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


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 .

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


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


one of the most significant moviegoing pleasures of the year .

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


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


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


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


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

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


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


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

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


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 .


beautifully observed , miraculously unsentimental comedy-drama .

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


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


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

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


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


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

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 .


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

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


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


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

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


one of the most significant moviegoing pleasures of the year .


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

blanchett 's performance confirms her power once again .


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


rarely has so much money delivered so little entertainment .

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 .


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


falls neatly into the category of good stupid fun .

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 .


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


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


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

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


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


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 .

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 .


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


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 .


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 .


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


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


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


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

a poignant , artfully crafted meditation on mortality .


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

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


rarely has so much money delivered so little entertainment .


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

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


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- .


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


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


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


just embarrassment and a vague sense of shame .


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

one of the most significant moviegoing pleasures of the year .


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


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

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 .


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 .

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


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


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

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 .


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 .


challenging , intermittently engrossing and unflaggingly creative .

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


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


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

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


the wild thornberrys movie is a jolly surprise .

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


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


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

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


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


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

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


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


the performances take the movie to a higher level .

the wild thornberrys movie is a jolly surprise .


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


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


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 .

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


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


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


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

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


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


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

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


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 .

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 .


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


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

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 .


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 .


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 ?

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


a strangely compelling and brilliantly acted psychological drama .


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

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


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


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

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


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 .


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

it 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 .


beautifully observed , miraculously unsentimental comedy-drama .


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

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


one of the most significant moviegoing pleasures of the year .


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


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


i just loved every minute of this film .

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


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

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 .


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


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

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


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


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


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


dull , lifeless , and amateurishly assembled .

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 .


-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 .

dense with characters and contains some thrilling moments .


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


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


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


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

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


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


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

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


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


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

i just loved every minute of this film .


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


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

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


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 .

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


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


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


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


for starters , the story is just too slim .

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


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


the film is quiet , threatening and unforgettable .

uses high comedy to evoke surprising poignance .


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


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 .

the performances take the movie to a higher level .


affleck and jackson are good sparring partners .

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


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


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

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


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


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

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


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


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


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


the 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 .


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 .


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

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


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 .


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

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


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


indifferently implausible popcorn programmer of a movie .

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


a strangely compelling and brilliantly acted psychological drama .


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


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


the 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 .

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 .


not only unfunny , but downright repellent .


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

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


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


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

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


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


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 .

falls neatly into the category of good stupid fun .


indifferently implausible popcorn programmer of a movie .


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

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


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


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


detox is ultimately a pointless endeavor .


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


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

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


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


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

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


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


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

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


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


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

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 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 .


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


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

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 .


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 .


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


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

dense with characters and contains some thrilling moments .


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 .


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 .


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 .

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 .


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


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 .


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


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

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 .


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


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

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


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 .


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


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


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

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


dense with characters and contains some thrilling moments .

will amuse and provoke adventurous adults in specialty venues .


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

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


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


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 .


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

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


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


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

just embarrassment and a vague sense of shame .


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


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

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


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


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

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


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 .


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

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


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 .


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


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


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

the film is quiet , threatening and unforgettable .


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


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

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 .


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 .


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 .

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


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


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


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


a quiet treasure -- a film to be savored .

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


dull , lifeless , and amateurishly assembled .


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

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 .


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 .

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


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


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

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


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


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

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


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

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


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


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


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


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

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


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


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

a strangely compelling and brilliantly acted psychological drama .


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


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


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 .


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

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


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


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


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


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


the story and structure are well-honed .

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 .


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


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

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


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


blanchett 's performance confirms her power once again .

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


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 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 .


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


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

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


indifferently implausible popcorn programmer of a movie .


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


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

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 .


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


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

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


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


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

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


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 .


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

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


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


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

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


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


the film is quiet , threatening and unforgettable .


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

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


not only unfunny , but downright repellent .

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


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


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

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 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 .


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 .


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


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


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 .

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


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


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 .

-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 .


trite , banal , cliched , mostly inoffensive .


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

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


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


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

the piquant story needs more dramatic meat on its bones .


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


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

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 .


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


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

a good piece of work more often than not .


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


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

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 .


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


just embarrassment and a vague sense of shame .

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


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


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

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


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 .


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

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


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 .


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


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


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 .

dull , lifeless , and amateurishly assembled .


one of the most significant moviegoing pleasures of the year .


will amuse and provoke adventurous adults in specialty venues .

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


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

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


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 .


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


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


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


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

dense with characters and contains some thrilling moments .


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


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

a poignant , artfully crafted meditation on mortality .


the story and the friendship proceeds in such a way that you 're watching a soap opera rather than a chronicle of the ups and downs that accompany lifelong friendships .


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

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


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


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 .

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


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 .


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 .

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


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


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 .

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


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


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

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


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


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

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 .


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


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 .

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


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 .


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 .


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

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


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


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

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


not only unfunny , but downright repellent .


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

falls neatly into the category of good stupid fun .


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 .


no way i can believe this load of junk .

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


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

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


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


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

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


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


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

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


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 .


a good piece of work more often than not .

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 .


trite , banal , cliched , mostly inoffensive .


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


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

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


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


detox is ultimately a pointless endeavor .


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

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


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


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 .

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


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 .

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


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


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

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


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

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


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

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


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


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


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


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


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


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


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


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

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


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


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

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


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

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


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


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

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


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


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

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


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


a poignant , artfully crafted meditation on mortality .

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


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


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

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


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 .


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


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

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


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


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

falls neatly into the category of good stupid fun .


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


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


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 .


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

the piquant story needs more dramatic meat on its bones .


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 .


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

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


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


the film is quiet , threatening and unforgettable .


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


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

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 .


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


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

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


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

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


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


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

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


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


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


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


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


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


uses high comedy to evoke surprising poignance .


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


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

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 .


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


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

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


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


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 good piece of work more often than not .


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


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

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


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


... a magnificent drama well worth tracking down .

-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 .


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

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


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


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 .

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


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


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

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 .


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


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

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


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 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 .


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 .


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


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


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

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


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

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


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


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


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

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


a strangely compelling and brilliantly acted psychological drama .


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

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


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


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

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


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


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

falls neatly into the category of good stupid fun .


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


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

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


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


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 .

dense with characters and contains some thrilling moments .


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


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 .

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


manages to be both repulsively sadistic and mundane .

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


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 .


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

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


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


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

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


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


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

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


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


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

trite , banal , cliched , mostly inoffensive .


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


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

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


a strangely compelling and brilliantly acted psychological drama .


the story and the friendship proceeds in such a way that you 're watching a soap opera rather than a chronicle of the ups and downs that accompany lifelong friendships .


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

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


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 .


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

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


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


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


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


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


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 .

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 .


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


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

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


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


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


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


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

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


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


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

dense with characters and contains some thrilling moments .


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


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

will amuse and provoke adventurous adults in specialty venues .


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


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


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

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


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


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

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


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


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

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