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

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


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


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

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


just embarrassment and a vague sense of shame .


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

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


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

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


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


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 .

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


falls neatly into the category of good stupid fun .


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 .

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 .


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 .


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

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


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 .


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

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


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


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 .

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


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


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


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 .


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

dull , lifeless , and amateurishly assembled .


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


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

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


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


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

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


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


no way i can believe this load of junk .

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


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


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

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


whether you like rap music or loathe it , you ca n't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .


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

uses high comedy to evoke surprising poignance .


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


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


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


a good piece of work more often than not .


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 .


trite , banal , cliched , mostly inoffensive .

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


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


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


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


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


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

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


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


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

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


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


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 .

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


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 !

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 .


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

i just loved every minute of this film .


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


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

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


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


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- .


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


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


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


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


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

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


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


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 .


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

-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 .


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 .


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

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


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


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

the piquant story needs more dramatic meat on its bones .


a poignant , artfully crafted meditation on mortality .


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


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


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

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


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


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

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


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


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

whether you like rap music or loathe it , you ca n't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .


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


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 .


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 .


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


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

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


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

affleck and jackson are good sparring partners .


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


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


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

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


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


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

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


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


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

a good piece of work more often than not .


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


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


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


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

manages to be both repulsively sadistic and mundane .


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


i just loved every minute of this film .


uses high comedy to evoke surprising poignance .

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


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


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

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 ?


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


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

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


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


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 beguiling splash of pastel colors and prankish comedy from disney .


for starters , the story is just too slim .


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

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 .


trite , banal , cliched , mostly inoffensive .


... a magnificent drama well worth tracking down .


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


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

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


detox is ultimately a pointless endeavor .


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 .


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


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


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

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


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 .


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

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


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


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

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


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


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

will amuse and provoke adventurous adults in specialty venues .


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


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

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


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


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 .


-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 .


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

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


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 .


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

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


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


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

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 .


falls neatly into the category of good stupid fun .


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

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


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


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

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


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


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 .

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 .


indifferently implausible popcorn programmer of a movie .


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


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


manages to be both repulsively sadistic and mundane .

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


blanchett 's performance confirms her power once again .


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

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


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


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

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


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


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

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


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


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

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


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

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


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


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

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


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


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

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 .


i just loved every minute of this film .


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

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


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


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

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


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


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

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


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


whether you like rap music or loathe it , you ca n't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .

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


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


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 .


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


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

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


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


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


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

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


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


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

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


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

the film is quiet , threatening and unforgettable .


trite , banal , cliched , mostly inoffensive .


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 .

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


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


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

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


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 .


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

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


indifferently implausible popcorn programmer of a movie .


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


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


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 .

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


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


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

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


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


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


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

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 .


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 .


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

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


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


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

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 .


a good piece of work more often than not .


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


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 .


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

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 .


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


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 .

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


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


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

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


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

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


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

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


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


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


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 .

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 .


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 .


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

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


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

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


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


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 .

dull , lifeless , and amateurishly assembled .


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


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

for starters , the story is just too slim .


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

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


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


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


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


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

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


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


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

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


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


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


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

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


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

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


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 .


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

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


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


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

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


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 .


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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


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

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


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


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


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 .


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

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


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


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


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


the piquant story needs more dramatic meat on its bones .

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 .


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


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

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


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

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


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 .


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

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


detox is ultimately a pointless endeavor .

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


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


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

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


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


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 .

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 .


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


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

the piquant story needs more dramatic meat on its bones .


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

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


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 .


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 .

beautifully observed , miraculously unsentimental comedy-drama .


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


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

the story and structure are well-honed .


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


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

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 .


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


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 .

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


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


detox is ultimately a pointless endeavor .


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

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


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


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

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


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


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

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


-lrb- 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 strangely compelling and brilliantly acted psychological drama .

the wild thornberrys movie is a jolly surprise .


not only unfunny , but downright repellent .


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 .

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 .


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


one of the most significant moviegoing pleasures of the year .

the film is quiet , threatening and unforgettable .


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 .


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


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

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


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


beautifully observed , miraculously unsentimental comedy-drama .


rarely has so much money delivered so little entertainment .


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

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


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


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

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


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


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

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


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


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


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

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


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


falls neatly into the category of good stupid fun .

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


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


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

no way i can believe this load of junk .


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


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 .

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


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


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


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


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 .


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


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

affleck and jackson are good sparring partners .


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


the piquant story needs more dramatic meat on its bones .


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


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

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


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


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

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


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


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

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


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


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


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


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


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


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

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


no way i can believe this load of junk .


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

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


this is 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 .


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 .

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


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


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

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


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 .


challenging , intermittently engrossing and unflaggingly creative .

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


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

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


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


the wild thornberrys movie is a jolly surprise .

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


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


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

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


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


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

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


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


the performances take the movie to a higher level .

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


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


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

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


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 .


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 .

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


dense with characters and contains some thrilling moments .


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


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


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

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


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 .


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

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


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

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


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 ?

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 .


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


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

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


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


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


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


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

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


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 .

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


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

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 ?


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


i just loved every minute of this film .

a strangely compelling and brilliantly acted psychological drama .


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


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

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


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 .


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

will amuse and provoke adventurous adults in specialty venues .


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

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


i just loved every minute of this film .


dull , lifeless , and amateurishly assembled .

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


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 .


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


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 .


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

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


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


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

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


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

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


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


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

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


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

the story and structure are well-honed .


just embarrassment and a vague sense of shame .


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


dull , lifeless , and amateurishly assembled .


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

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


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 .


for starters , the story is just too slim .

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


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


the film is quiet , threatening and unforgettable .

a good piece of work more often than not .


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


martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes and frustrations vivid .

affleck and jackson are good sparring partners .


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 .


affleck and jackson are good sparring partners .

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


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- .


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

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


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 .

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 .


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


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


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

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


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 .


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

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


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


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

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


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


indifferently implausible popcorn programmer of a 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 .


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


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

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 .


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


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

the performances take the movie to a higher level .


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


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

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


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


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

beautifully observed , miraculously unsentimental comedy-drama .


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


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

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


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


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 .


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


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

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 .


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


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 .


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

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


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


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

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


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

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


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


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

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


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


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 .


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


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


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


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


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

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


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


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

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


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 ?


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

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


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


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


just embarrassment and a vague sense of shame .


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

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


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

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


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


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 .

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


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


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

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


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 .


dense with characters and contains some thrilling moments .

affleck and jackson are good sparring partners .


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

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


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


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

a good piece of work more often than not .


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


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

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


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


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

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


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


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


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 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 .


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


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

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


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


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

the 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 .


just embarrassment and a vague sense of shame .


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


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 .


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

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


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

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


not only unfunny , but downright repellent .


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


a quiet treasure -- a film to be savored .

... a magnificent drama well worth tracking down .


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


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 .


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


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

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


affleck and jackson are good sparring partners .


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

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


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 .


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

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


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


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


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


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

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 .


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


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

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


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


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

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


no way i can believe this load of junk .


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

manages to be both repulsively sadistic and mundane .


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


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

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


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 .


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


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


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

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 .


the story and structure are well-honed .

challenging , intermittently engrossing and unflaggingly creative .


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

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


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


blanchett 's performance confirms her power once again .

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 .


not only unfunny , but downright repellent .


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 .

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


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

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


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


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 cold turkey would 've been a far better title .


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 .


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


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


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

trite , banal , cliched , mostly inoffensive .


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


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

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 .


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


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

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


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


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

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


one of the most significant moviegoing pleasures of the year .


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 .


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


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 .

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


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


not only unfunny , but downright repellent .

manages to be both repulsively sadistic and mundane .


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

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


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


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


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


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 valueless kiddie paean to pro basketball underwritten by the nba .


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


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 good piece of work more often than not .


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 .

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


detox is ultimately a pointless endeavor .


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

falls neatly into the category of good stupid fun .


-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 .


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


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

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 .


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


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

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


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


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

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


just embarrassment and a vague sense of shame .


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


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

will amuse and provoke adventurous adults in specialty venues .


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 .


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

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


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


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

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


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


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 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 .


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


will amuse and provoke adventurous adults in specialty venues .

beautifully observed , miraculously unsentimental comedy-drama .


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 .


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

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


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


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 .

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 .


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


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

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


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

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


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


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

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


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


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

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


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


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 .


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


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


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


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 .

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


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


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

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


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


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


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 .

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


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


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


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

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


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


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 .

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


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


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

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


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 .


no way i can believe this load of junk .

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


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


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

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


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


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

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 .


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


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


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


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

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


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


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


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


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


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


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

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


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 .


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 .

no way i can believe this load of junk .


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


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


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

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


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


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

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


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


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

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


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


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

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


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


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


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


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


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


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


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

one of the most significant moviegoing pleasures of the year .


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


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

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


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


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

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


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


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

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


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


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


a poignant , artfully crafted meditation on mortality .

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


manages to be both repulsively sadistic and mundane .


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

for starters , the story is just too slim .


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


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 .

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


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

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


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 .


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

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 .


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


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 .


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


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 .

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 .


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 .


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

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


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


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


just embarrassment and a vague sense of shame .


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

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


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


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

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


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 .