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 .


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


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


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


a quiet treasure -- a film to be savored .

... a magnificent drama well worth tracking down .


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


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

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


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


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

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


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


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

the story and structure are well-honed .


dull , lifeless , and amateurishly assembled .


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

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


falls neatly into the category of good stupid fun .


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

-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 .


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


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

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


the so-inept - it 's - surreal dubbing -lrb- featuring the voices of glenn close , regis philbin and breckin meyer -rrb- brings back memories of cheesy old godzilla flicks .


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

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


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


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

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


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


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

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


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


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


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


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

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 .


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


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

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


the story and structure are well-honed .

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


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

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


indifferently implausible popcorn programmer of a movie .


blanchett 's performance confirms her power once again .

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


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 .

for starters , the story is just too slim .


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


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

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 .


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


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 heavy-handed film is almost laughable as a consequence .


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


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

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


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


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

no way i can believe this load of junk .


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


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 .


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

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


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 .


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

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


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 .


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


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 .

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


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


not only unfunny , but downright repellent .


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


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

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


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


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


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


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 movie is just a plain old monster .


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


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

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


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


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 .

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


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


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


-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 .

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


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


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

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


a good piece of work more often than not .


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

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


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


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

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


just embarrassment and a vague sense of shame .

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 .

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 .


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


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


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


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

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


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 .

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 .


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 .


will amuse and provoke adventurous adults in specialty venues .

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


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


trite , banal , cliched , mostly inoffensive .


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 .

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


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


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

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


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


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

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


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

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 .


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


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

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


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


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

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


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


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

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


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


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


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


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


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

-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 .


blanchett 's performance confirms her power once again .


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

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


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 .


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


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


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

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


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


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

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


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 .


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

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


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 .


no way i can believe this load of junk .

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


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


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


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

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 .


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


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

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


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


a good piece of work more often than not .

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


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 .


trite , banal , cliched , mostly inoffensive .

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


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 .


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

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


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


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


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


the wild thornberrys movie is a jolly surprise .


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 .

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


a 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 .

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 .


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


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


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


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

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


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


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

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


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


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- .

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


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


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


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


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


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

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


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


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

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


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

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


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


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

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


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


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

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


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


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


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


a poignant , artfully crafted meditation on mortality .

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


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


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


uses high comedy to evoke surprising poignance .


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

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


the wild thornberrys movie is a jolly surprise .


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

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


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


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

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


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 .

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


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 .


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


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

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


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


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 .


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


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

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


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

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


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


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

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


indifferently implausible popcorn programmer of a movie .


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

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


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


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

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


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


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


uses high comedy to evoke surprising poignance .

blanchett 's performance confirms her power once again .


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


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

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


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


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

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


affleck and jackson are good sparring partners .


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 .

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


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


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

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


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


... a magnificent drama well worth tracking down .

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


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

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


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


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 good piece of work more often than not .


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

... a magnificent drama well worth tracking down .


the piquant story needs more dramatic meat on its bones .


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

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


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 .

trite , banal , cliched , mostly inoffensive .


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


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 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 .


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

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


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

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


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


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


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


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

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 .


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 .


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 .


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


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

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


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


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

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


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


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

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


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


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

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


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


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


manages to be both repulsively sadistic and mundane .

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


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


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

the piquant story needs more dramatic meat on its bones .


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


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

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


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


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

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


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


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

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 .


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


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

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


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


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 .

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 .


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


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

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


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

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


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


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

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


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

the so-inept - it 's - surreal dubbing -lrb- featuring the voices of glenn close , regis philbin and breckin meyer -rrb- brings back memories of cheesy old godzilla flicks .


a 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 .


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 .

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


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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


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


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 .


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


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 ?


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 .

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


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


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

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


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


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


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


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

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


beautifully observed , miraculously unsentimental comedy-drama .


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 .


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

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


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


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


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


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

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


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


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

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 .


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


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

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


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

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 .


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


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 .

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 .


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


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


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


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


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

a poignant , artfully crafted meditation on mortality .


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


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


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


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 .

trite , banal , cliched , mostly inoffensive .


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


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

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


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


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

a strangely compelling and brilliantly acted psychological drama .


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


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 .

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


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 do n't think i laughed out loud once .

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


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


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

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


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

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


rarely has so much money delivered so little entertainment .


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 .

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 .


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 .


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

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


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


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

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 .


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


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

not only unfunny , but downright repellent .


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


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


the 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 .


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


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 .


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

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


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


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

trite , banal , cliched , mostly inoffensive .


one of the most significant moviegoing pleasures of the year .


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 .

challenging , intermittently engrossing and unflaggingly creative .


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


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

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


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

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


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


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


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 .


manages to be both repulsively sadistic and mundane .


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


the 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 .


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

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


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


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

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


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


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

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


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 .


detox is ultimately a pointless endeavor .

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 .


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


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

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


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 .


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


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 .


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

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


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


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


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 .


trite , banal , cliched , mostly inoffensive .


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

blanchett 's performance confirms her power once again .


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


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


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


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 .

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


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


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


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


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

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 just loved every minute of this film .


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

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


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


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


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


a strangely compelling and brilliantly acted psychological drama .

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


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


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


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


one of the most significant moviegoing pleasures of the year .

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


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


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


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


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

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


the story and structure are well-honed .


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

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


manages to be both repulsively sadistic and mundane .


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 .


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


beautifully observed , miraculously unsentimental comedy-drama .

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


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

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


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


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

just embarrassment and a vague sense of shame .


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

beautifully observed , miraculously unsentimental comedy-drama .


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

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 .


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


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


rarely has so much money delivered so little entertainment .

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 .


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


falls neatly into the category of good stupid fun .

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


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


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


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


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 .

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 .


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


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

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


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


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


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


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

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 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 .


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


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


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


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


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

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


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


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

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


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 .


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

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


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


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

a poignant , artfully crafted meditation on mortality .


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


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

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


i just loved every minute of this film .


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 .

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


the performances take the movie to a higher level .


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

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 .


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


challenging , intermittently engrossing and unflaggingly creative .

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 .


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


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

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 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 wild thornberrys movie is a jolly surprise .

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


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


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

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


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


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

trite , banal , cliched , mostly inoffensive .


the performances take the movie to a higher level .

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


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


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

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


falls neatly into the category of good stupid fun .


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 .

detox is ultimately a pointless endeavor .


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 .


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


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 .


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

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


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


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

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


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 .


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 .

will amuse and provoke adventurous adults in specialty venues .


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


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


slapstick buffoonery can tickle many a preschooler 's fancy , but when it costs a family of four about $ 40 to see a film in theaters , why spend money on a dog like this when you can rent a pedigree instead ?


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

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 .


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 .


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


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 .


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 do n't think i laughed out loud once .


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


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 .

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


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


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

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


i just loved every minute of this film .

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


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


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

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


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


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

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


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


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

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


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


dull , lifeless , and amateurishly assembled .

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


a strangely compelling and brilliantly acted psychological drama .


-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 .

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


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


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

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


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


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

indifferently implausible popcorn programmer of a movie .


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


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


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

affleck and jackson are good sparring partners .


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


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


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


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 .

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 .


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


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

manages to be both repulsively sadistic and mundane .


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


for starters , the story is just too slim .


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 film is quiet , threatening and unforgettable .

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


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 .


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 .

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


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 .


affleck and jackson are good sparring partners .

the story and structure are well-honed .


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


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

... a magnificent drama well worth tracking down .


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


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

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


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 .


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


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


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


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

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


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


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

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


indifferently implausible popcorn programmer of a movie .

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


uses high comedy to evoke surprising poignance .


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

the piquant story needs more dramatic meat on its bones .


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


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

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


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


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


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


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

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


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


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 .

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


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 .


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 .

falls neatly into the category of good stupid fun .


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

-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 .


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 .


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


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


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


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

the film is quiet , threatening and unforgettable .


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


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

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


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


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

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


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


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

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


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


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

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 .


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


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


for starters , the story is just too slim .


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

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 .


detox is ultimately a pointless endeavor .


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

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


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


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 .

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


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


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

challenging , intermittently engrossing and unflaggingly creative .


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


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


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


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


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


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 .

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


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

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


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


dense with characters and contains some thrilling moments .


trite , banal , cliched , mostly inoffensive .


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

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


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 .


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 cold turkey would 've been a far better title .


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

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


a strangely compelling and brilliantly acted psychological drama .


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

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


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


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 .

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


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


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

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


falls neatly into the category of good stupid fun .


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 .

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


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


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

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


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


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


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


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


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


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


a quiet treasure -- a film to be savored .

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


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


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 .


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


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 .

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


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

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


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 .


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

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


i just loved every minute of this film .


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

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


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

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


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


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

a strangely compelling and brilliantly acted psychological drama .


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


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

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


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 .


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

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


falls neatly into the category of good stupid fun .


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

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


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


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

-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 .


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


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

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 .


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


the story and structure are well-honed .


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


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

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 .


indifferently implausible popcorn programmer of a movie .


blanchett 's performance confirms her power once again .

dense with characters and contains some thrilling moments .


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


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 .

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


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


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

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


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


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


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

dull , lifeless , and amateurishly assembled .


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

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


will amuse and provoke adventurous adults in specialty venues .


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

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 .


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


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

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


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


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

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


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


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


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


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 .


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


not only unfunny , but downright repellent .


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


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

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 .


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


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

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


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 .


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

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


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


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

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


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 .


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


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


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

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


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


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

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


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


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

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


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


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

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 .


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


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


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 .


just embarrassment and a vague sense of shame .

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


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


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

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


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 .


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

a quiet treasure -- a film to be savored .


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


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

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 .


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


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 .

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


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


will amuse and provoke adventurous adults in specialty venues .

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


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


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

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


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


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 .

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


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

detox is ultimately a pointless endeavor .


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 .