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

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


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

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


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


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

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 ?


the wild thornberrys movie is a jolly surprise .


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


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


uses high comedy to evoke surprising poignance .

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 .


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


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

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 performances take the movie to a higher level .


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

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


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


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 .


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


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

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


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


... a magnificent drama well worth tracking down .


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


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

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


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


it '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 .

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


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

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


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


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

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 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 .


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


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


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 .

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 piquant story needs more dramatic meat on its bones .


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

one of the most significant moviegoing pleasures of the year .


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


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


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


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

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 .


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


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


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 .


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

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


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


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

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


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 .


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

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


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 tender , witty , captivating film about friendship , love , memory , trust and 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 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 synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .


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


manages to be both repulsively sadistic and mundane .

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


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


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

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


the wild thornberrys movie is a jolly surprise .


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 .

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 .


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


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

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


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

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


a strangely compelling and brilliantly acted psychological drama .


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

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


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


the story and 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 .

not only unfunny , but downright repellent .


a poignant , artfully crafted meditation on mortality .


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

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


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


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

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


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


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

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


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


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 .

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 .


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


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


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


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

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


... a magnificent drama well worth tracking down .


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


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

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


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 .


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

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


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


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

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


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 .


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 .

will amuse and provoke adventurous adults in specialty venues .


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 .


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


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


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

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


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

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


writer\/director joe carnahan 's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic .


it 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 .

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


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

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


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


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


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


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


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


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

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


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


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

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 .


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


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


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


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


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


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 .

the performances take the movie to a higher level .


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 .


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 .

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


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 .


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

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


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


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


rarely has so much money delivered so little entertainment .


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 .


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


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


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


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

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


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


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


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

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


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

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


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


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

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 .


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


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

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


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


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 .

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


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


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

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


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


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


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

-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 .


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 .


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


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

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


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 .


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

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


a good piece of work more often than not .


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

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


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


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 .

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


rarely has so much money delivered so little entertainment .


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

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


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


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


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

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


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


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


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


the piquant story needs more dramatic meat on its bones .

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 ?


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


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


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

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


blanchett 's performance confirms her power once again .


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

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


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


detox is ultimately a pointless endeavor .


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


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

beautifully observed , miraculously unsentimental comedy-drama .


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


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

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


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


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

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


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


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

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


a strangely compelling and brilliantly acted psychological drama .


jose campanella delivers a loosely autobiographical story brushed with sentimentality but brimming with gentle humor , bittersweet pathos , and lyric moments that linger like snapshots of memory .

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


just embarrassment and a vague sense of shame .


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

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 .


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

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


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 .

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


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


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


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


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

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


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

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


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

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 .


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


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


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 good piece of work more often than not .


not only unfunny , but downright repellent .


one of the most significant moviegoing pleasures of the year .

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


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


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


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


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

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


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


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 .


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


i just loved every minute of this film .


beautifully observed , miraculously unsentimental comedy-drama .

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


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


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

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


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


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

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


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


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


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

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


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


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

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


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


rarely has so much money delivered so little entertainment .

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


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


falls neatly into the category of good stupid fun .

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


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- .


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

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


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


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 .

detox is ultimately a pointless endeavor .


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


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 .

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


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


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


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


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

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


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


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


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


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

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


dull , lifeless , and amateurishly assembled .


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

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 .


trite , banal , cliched , mostly inoffensive .


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

blanchett 's performance confirms her power once again .


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 .


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


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


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


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


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


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


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

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


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


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 .


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


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


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


challenging , intermittently engrossing and unflaggingly creative .

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


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


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

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


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


the wild thornberrys movie is a jolly surprise .

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


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 .


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

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

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


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


the performances take the movie to a higher level .

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


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


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

dull , lifeless , and amateurishly assembled .


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 .


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

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


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


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


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


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

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


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


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


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


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

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


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


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

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


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 ?

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


one of the most significant moviegoing pleasures of the year .


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

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


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


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

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


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

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


a good piece of work more often than not .


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 .

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


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


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


i just loved every minute of this film .

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


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

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


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


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

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 .


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


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

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


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


dull , lifeless , and amateurishly assembled .


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 .


-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 .

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


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


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

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 is just a plain old monster .


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

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


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


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

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


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


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

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


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


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


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


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


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


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

dull , lifeless , and amateurishly assembled .


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


for starters , the story is just too slim .

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


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 film is quiet , threatening and unforgettable .

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


no way i can believe this load of junk .


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


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


affleck and jackson are good sparring partners .

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


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

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


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


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

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


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


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

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


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


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

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


the 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 .


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

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


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- .


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


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

just embarrassment and a vague sense of shame .


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


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

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


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


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

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


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


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

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


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


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

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


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


it 's 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 .

will amuse and provoke adventurous adults in specialty venues .


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

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


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


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


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

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


the story and structure are well-honed .


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

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


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


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

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


the 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 .


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

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


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


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 .


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


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

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


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


for starters , the story is just too slim .


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

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


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


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 .

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


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


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

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


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 .


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

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


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


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


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 .


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

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 .


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 .

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


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


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

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


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


dense with characters and contains some thrilling moments .


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 .


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

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


a good piece of work more often than not .


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

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 .


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


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

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


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


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


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 .


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

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


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


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 .

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


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


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

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


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


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

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


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


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

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


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

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 .


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


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


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


the story and structure are well-honed .


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


a quiet treasure -- a film to be savored .

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


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


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

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


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

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


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 .


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

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


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


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

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


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


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

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


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

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


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


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


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

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 .


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


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 .


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

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


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


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

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 .


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


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

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


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


the story and structure are well-honed .


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


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

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


blanchett 's performance confirms her power once again .

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 .


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 .


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 .


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


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

a poignant , artfully crafted meditation on mortality .


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


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

not only unfunny , but downright repellent .


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


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

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 .


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


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

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


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


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

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 .


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


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

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 .


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


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

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


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 .


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 ?


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


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 .

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


not only unfunny , but downright repellent .


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


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

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


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


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

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


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


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 .

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 .


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 .


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 .


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

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


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


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

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 .


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 .


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


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


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

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


-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 .


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

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


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


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

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


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


just embarrassment and a vague sense of shame .

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


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


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

the performances take the movie to a higher level .


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


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

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


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


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

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 .


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


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 .


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


will amuse and provoke adventurous adults in specialty venues .


the piquant story needs more dramatic meat on its bones .


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


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


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 .

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


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


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

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


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


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

a good piece of work more often than not .


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

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


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

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


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


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 .


uses high comedy to evoke surprising poignance .


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 .

detox is ultimately a pointless endeavor .


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


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 .

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


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 .


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

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


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


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

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


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


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 .

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


the film is quiet , threatening and unforgettable .


for starters , the story is just too slim .


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

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 .


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


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

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


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


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

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 .


no way i can believe this load of junk .

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


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


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

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 .


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

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 .


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 .


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

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 good piece of work more often than not .

a quiet treasure -- a film to be savored .


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


trite , banal , cliched , mostly inoffensive .

not only unfunny , but downright repellent .


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


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

dense with characters and contains some thrilling moments .


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 .


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


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


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

indifferently implausible popcorn programmer of a movie .


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 .

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


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


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 .

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


the piquant story needs more dramatic meat on its bones .


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

one of the most significant moviegoing pleasures of the year .


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


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

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


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

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


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


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- .

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


will amuse and provoke adventurous adults in specialty venues .


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 .


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


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


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

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


a quiet treasure -- a film to be savored .


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

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


trite , banal , cliched , mostly inoffensive .


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

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


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


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


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


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


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


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


a poignant , artfully crafted meditation on mortality .

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


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

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 .


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


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 .

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 ?


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


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


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


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

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


just embarrassment and a vague sense of shame .


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 .

uses high comedy to evoke surprising poignance .


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


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 .

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


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


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


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


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 .


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


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

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


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


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


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

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


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

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


i just loved every minute of this film .


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


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 .


uses high comedy to evoke surprising poignance .

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 .


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


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

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


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


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

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


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


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

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 .


no way i can believe this load of junk .


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

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


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


... a magnificent drama well worth tracking down .

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


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

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 .


manages to be both repulsively sadistic and mundane .


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 .

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


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


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

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


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


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

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


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 .


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 .


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


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 .

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


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 .


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

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


-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 .


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

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


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


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


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 .


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

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 .


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


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


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


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

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


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

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


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 ?


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

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


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


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 .

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


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

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


manages to be both repulsively sadistic and mundane .


i just loved every minute of this film .


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

not only unfunny , but downright repellent .


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


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 .

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

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 .


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


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

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


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 .


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

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


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 .

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 .


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


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

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


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


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

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


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


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

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 .


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


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

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 .


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


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


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


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

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


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


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