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


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


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


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

challenging , intermittently engrossing and unflaggingly creative .


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


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

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 .


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


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


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


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

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


will amuse and provoke adventurous adults in specialty venues .


a quiet treasure -- a film to be savored .


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


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

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


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

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


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


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

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


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


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

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


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


challenging , intermittently engrossing and unflaggingly creative .

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


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 .


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


the wild thornberrys movie is a jolly surprise .

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


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


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

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


just embarrassment and a vague sense of shame .


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

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


i just loved every minute of this film .


the performances take the movie to a higher level .

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


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

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


uses high comedy to evoke surprising poignance .


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 .

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


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


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


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

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


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


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

manages to be both repulsively sadistic and mundane .


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


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 .

dense with characters and contains some thrilling moments .


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


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

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


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


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 ?

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


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


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

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


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


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

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


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


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 .

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


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


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 .


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


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

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


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


i just loved every minute of this film .

may be far from the best of the series , but it 's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .


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


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


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


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

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


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


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

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


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 .


dull , lifeless , and amateurishly assembled .

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


-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 .

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


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

a strangely compelling and brilliantly acted psychological drama .


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


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

it 's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .


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


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

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


... a magnificent drama well worth tracking down .


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

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


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


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

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


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

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


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


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


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


for starters , the story is just too slim .

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


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


the film is quiet , threatening and unforgettable .

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 .


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


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


affleck and jackson are good sparring partners .

the wild thornberrys movie is a jolly surprise .


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


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

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


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


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

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


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


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 .


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 .

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 .


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


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


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


indifferently implausible popcorn programmer of a movie .

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


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


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

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


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 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 .

challenging , intermittently engrossing and unflaggingly creative .


not only unfunny , but downright repellent .


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

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


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


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

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


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


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 poignant , artfully crafted meditation on mortality .


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


it '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 .


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

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


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


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


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


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

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


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


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

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


while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .


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

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


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


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

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


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 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 .


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


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

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


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


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 .


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


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


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


this is 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 .


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


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 .

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 .


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


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

uses high comedy to evoke surprising poignance .


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 .


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

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


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


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

challenging , intermittently engrossing and unflaggingly creative .


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


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 .

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


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


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

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


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


dense with characters and contains some thrilling moments .

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 .


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


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

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


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


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

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


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


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

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 cold turkey would 've been a far better title .

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


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


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

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


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


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

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


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


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

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


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


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 .

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


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


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

blanchett 's performance confirms her power once again .


not only unfunny , but downright repellent .


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

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


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


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


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 .


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


a quiet treasure -- a film to be savored .

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


its well of thorn and vinegar -lrb- and simple humanity -rrb- has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .


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

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


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 ?


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

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


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

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


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


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

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


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 .


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

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


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


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

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 .


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


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

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


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

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


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


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

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


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 .


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

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


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


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


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


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

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


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


the story and structure are well-honed .


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


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

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 .


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 .


blanchett 's performance confirms her power once again .


rarely has so much money delivered so little entertainment .


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 n't even madonna 's swept away .


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


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

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


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


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

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


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


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

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


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


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

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


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

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


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


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

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


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 .


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


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 .


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 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 .


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 .


not only unfunny , but downright repellent .

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


the story and structure are well-honed .


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

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


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


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

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


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


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

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


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


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 .

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


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


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 .


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


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

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


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


-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 .


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


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

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


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 .


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

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


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

indifferently implausible popcorn programmer of a movie .


the performances take the movie to a higher level .


just embarrassment and a vague sense of shame .

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


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


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

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


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 .


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

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


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


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

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


not only unfunny , but downright repellent .


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 .

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 .


will amuse and provoke adventurous adults in specialty venues .

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


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


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

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


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 .


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


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


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


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


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

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 .


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


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

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


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


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

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


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


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 .

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


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


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 .

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


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

if 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 .


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


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

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


one of the most significant moviegoing pleasures of the year .


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


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 .

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


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


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


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

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


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


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 .

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


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


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

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


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


no way i can believe this load of junk .

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


the film is quiet , threatening and unforgettable .


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


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


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

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


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 .


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

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


it 's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

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


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


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

a quiet treasure -- a film to be savored .


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


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


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


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

manages to be both repulsively sadistic and mundane .


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


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 .

rarely has so much money delivered so little entertainment .


i just loved every minute of this film .


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

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


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


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


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

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


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


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

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


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


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


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


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 .


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


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


a quiet treasure -- a film to be savored .


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


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

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

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


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 .


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

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


beautifully observed , miraculously unsentimental comedy-drama .


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

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


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


a poignant , artfully crafted meditation on mortality .


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 .


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


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

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


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


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

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


a good piece of work more often than not .


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

the story and structure are well-honed .


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

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 .


may be far from the best of the series , but it 's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .


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


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

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


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


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

affleck and jackson are good sparring partners .


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 .


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


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

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


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 .


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


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

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


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


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

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


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


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

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


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


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


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 .


uses high comedy to evoke surprising poignance .


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


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

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


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


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

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


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


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 .

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


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

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


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


... a magnificent drama well worth tracking down .

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


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


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

a poignant , artfully crafted meditation on mortality .


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


it '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 .

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


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


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

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


just embarrassment and a vague sense of shame .


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


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


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


blanchett 's performance confirms her power once again .


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 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 .


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


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


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 .


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

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


... a magnificent drama well worth tracking down .


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


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


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

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


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


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

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


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 .


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


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

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


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


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

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


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 .


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


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 .

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


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 .


manages to be both repulsively sadistic and mundane .

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


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


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

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 .


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 .

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


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


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

the film is quiet , threatening and unforgettable .


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 .

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


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 .


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

it 's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .


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


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 valueless kiddie paean to pro basketball underwritten by the nba .


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

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 .


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


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

one of the most significant moviegoing pleasures of the year .


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


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

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


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


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


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


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


the wild thornberrys movie is a jolly surprise .


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

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


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


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 ?


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

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


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


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

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


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

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


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


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 .

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


just embarrassment and a vague sense of shame .


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


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


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

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


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


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

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


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 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 .

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


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


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


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


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


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 .

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


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


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

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 .


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


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

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


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


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

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


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


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

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


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


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 .

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 .


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


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

the 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 .


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

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


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

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 .


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


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


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


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

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


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


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

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


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 ?

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


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


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


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

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


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


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

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


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


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


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


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 .

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 ?


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


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


just embarrassment and a vague sense of shame .


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


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

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


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


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 .


falls neatly into the category of good stupid fun .


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


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

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 .


challenging , intermittently engrossing and unflaggingly creative .


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


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


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 .

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 .


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


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

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


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

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


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 .


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

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 .


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


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


the piquant story needs more dramatic meat on its bones .

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


based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters


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

no way i can believe this load of junk .


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


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

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


uses high comedy to evoke surprising poignance .


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

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


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 .


detox is ultimately a pointless endeavor .


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 .


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

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 .


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


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

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


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


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

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


the story and structure are well-honed .


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

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 .


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


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

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


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

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

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


falls neatly into the category of good stupid fun .


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

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


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


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 .


dull , lifeless , and amateurishly assembled .


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

-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 .


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


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

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 .


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


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

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


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


a strangely compelling and brilliantly acted psychological drama .

the film is quiet , threatening and unforgettable .


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


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 .


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 .


one of the most significant moviegoing pleasures of the year .

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


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


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


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


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

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


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 .


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

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


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 .


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


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


beautifully observed , miraculously unsentimental comedy-drama .

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


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


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


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


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

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 .


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


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

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


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


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

indifferently implausible popcorn programmer of a movie .


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


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 .


rarely has so much money delivered so little entertainment .

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


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 .


falls neatly into the category of good stupid fun .

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


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


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

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


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 .

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


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


it '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 .


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


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


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 ?


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

challenging , intermittently engrossing and unflaggingly creative .


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


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


dense with characters and contains some thrilling moments .


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

beautifully observed , miraculously unsentimental comedy-drama .


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


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

based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters


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

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 .


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


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

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


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


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


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


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

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 .


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


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


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


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

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


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


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

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


challenging , intermittently engrossing and unflaggingly creative .

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


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


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 .


the wild thornberrys movie is a jolly surprise .


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


based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters

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 cold turkey would 've been a far better title .


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

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


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


the performances take the movie to a higher level .

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 .


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


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

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


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


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


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


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


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


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

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


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


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

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


the film is quiet , threatening and unforgettable .


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


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


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

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


the piquant story needs more dramatic meat on its bones .


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


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 .

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


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


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 .

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


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

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


i just loved every minute of this film .


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


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

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


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 .


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


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


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

just embarrassment and a vague sense of shame .


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


dull , lifeless , and amateurishly assembled .

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 .


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


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


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

dense with characters and contains some thrilling moments .


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


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

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


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 .


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

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


the wild thornberrys movie is a jolly surprise .


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

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


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

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


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 .

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


indifferently implausible popcorn programmer of a movie .


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

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


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


for starters , the story is just too slim .

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


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


the film is quiet , threatening and unforgettable .


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 .


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 .

falls neatly into the category of good stupid fun .


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


affleck and jackson are good sparring partners .

... a magnificent drama well worth tracking down .


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