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


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

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


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

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 story and structure are well-honed .


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


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 .

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 .


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

one of the most significant moviegoing pleasures of the year .


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


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

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


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


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

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


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


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 .

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


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 .


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 .

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


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


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

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 ?


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


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 .


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


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 .

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


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


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

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


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 piquant story needs more dramatic meat on its bones .


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


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

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 .


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


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

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


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


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

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


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


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 .

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


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


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

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


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


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

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


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 .


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

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 .


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


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 .

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 film is quiet , threatening and unforgettable .


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

detox is ultimately a pointless endeavor .


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

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


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


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


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


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 .

-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 .


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 .


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

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 .


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


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

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 .


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 .


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

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


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


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


affleck and jackson are good sparring partners .


the piquant story needs more dramatic meat on its bones .


dense with characters and contains some thrilling moments .


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

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 film is quiet , threatening and unforgettable .


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

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


a 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 .


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

blanchett 's performance confirms her power once again .


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


detox is ultimately a pointless endeavor .

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 .


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

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


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 .

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


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


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

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


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


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

indifferently implausible popcorn programmer of a movie .


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


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


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

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


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


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

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


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


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


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


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


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

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


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


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

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


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 movie is just a plain old monster .

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 .


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 .


a strangely compelling and brilliantly acted psychological drama .

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


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


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 .


one of the most significant moviegoing pleasures of the year .


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


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


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

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


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


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

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


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


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


beautifully observed , miraculously unsentimental comedy-drama .

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 .


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


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


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


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


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 .


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


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


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

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


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

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


rarely has so much money delivered so little entertainment .

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


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 .


falls neatly into the category of good stupid fun .

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


it 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 .


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


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


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 .

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 .


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 .


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 .

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


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


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


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 .


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

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


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


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


a strangely compelling and brilliantly acted psychological drama .


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

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


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


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

affleck and jackson are good sparring partners .


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


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

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 .


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


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

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


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


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


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


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

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


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


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

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


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


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

it 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 .


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


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

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


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


challenging , intermittently engrossing and unflaggingly creative .

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


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


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

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 .


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


the wild thornberrys movie is a jolly surprise .

a poignant , artfully crafted meditation on mortality .


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


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

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


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


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

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


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


the performances take the movie to a higher level .

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


it '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 .

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 .


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


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 .

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


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


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


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


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

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


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 .


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


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


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


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


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

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


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


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


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


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

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


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


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

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


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


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 .


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


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 .

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


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


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

not only unfunny , but downright repellent .


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


i just loved every minute of this film .

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


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


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

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 .


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


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

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


indifferently implausible popcorn programmer of a movie .


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

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


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


dull , lifeless , and amateurishly assembled .

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


a 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 .


-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 .

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


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


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

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


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


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

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 .


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 .


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

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


the performances take the movie to a higher level .


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


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


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


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


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 .

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


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


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

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


for starters , the story is just too slim .

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 .


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


the film is quiet , threatening and unforgettable .

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


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


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


affleck and jackson are good sparring partners .

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 .


no way i can believe this load of junk .


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

uses high comedy to evoke surprising poignance .


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


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

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


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- .


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


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

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


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


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


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


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

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


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


indifferently implausible popcorn programmer of a 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 .


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


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

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


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


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 .

affleck and jackson are good sparring partners .


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


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

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


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


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

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


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


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

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


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


it '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 .

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


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 .


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

blanchett 's performance confirms her power once again .


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


detox is ultimately a pointless endeavor .


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 .


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

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


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


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

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


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


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


a good piece of work more often than not .


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


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


the 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 since tom cruise in risky business has an actor made such a strong impression in his underwear .


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

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 .


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


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


-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 .


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

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


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


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 .

will amuse and provoke adventurous adults in specialty venues .


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 .


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 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 .


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

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


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

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


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


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

a quiet treasure -- a film to be savored .


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 .


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 .

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


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


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

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 .


dense with characters and contains some thrilling moments .


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 .


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 .


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 .


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

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


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


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

manages to be both repulsively sadistic and mundane .


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 .

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


beautifully observed , miraculously unsentimental comedy-drama .


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

the film is quiet , threatening and unforgettable .


trite , banal , cliched , mostly inoffensive .


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 .


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


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 .

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


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


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

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


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

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


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 .


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 .


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


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


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


a quiet treasure -- a film to be savored .

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


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


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

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


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 .

for starters , the story is just too slim .


falls neatly into the category of good stupid fun .


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


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


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

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


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


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

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


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

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 .


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

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 .


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


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


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

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


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 .


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

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


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 .


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

just embarrassment and a vague sense of shame .


... a magnificent drama well worth tracking down .


when leguizamo finally plugged an irritating character late in the 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 .


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 story and structure are well-honed .

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


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


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

dense with characters and contains some thrilling moments .


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


blanchett 's performance confirms her power once again .

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 .


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 .


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


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


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

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


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

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


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


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


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


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


a good piece of work more often than not .


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

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


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


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

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 .


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


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


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


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


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 .

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


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


not only unfunny , but downright repellent .

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


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


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

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


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


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

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


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


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 .

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 .


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


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

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


blanchett 's performance confirms her power once again .


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 .

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


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


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

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


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


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

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


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 .


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

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 .


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


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


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


the performances take the movie to a higher level .


just embarrassment and a vague sense of shame .

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 ?


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


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

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 .


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


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

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


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 .


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


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


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

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


a good piece of work more often than not .


will amuse and provoke adventurous adults in specialty venues .

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


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


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

will amuse and provoke adventurous adults in specialty venues .


dull , lifeless , and amateurishly assembled .


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 .

affleck and jackson are good sparring partners .


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


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

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


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


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

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 .


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

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


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


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

just embarrassment and a vague sense of shame .


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


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 .

the piquant story needs more dramatic meat on its bones .


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


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 .

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 .


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


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 .

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 .


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

detox is ultimately a pointless endeavor .


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


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


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


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 .

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


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


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 .


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

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


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


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 .

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


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

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


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


no way i can believe this load of junk .


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


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

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


affleck and jackson are good sparring partners .


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

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


it 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 .


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

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


a good piece of work more often than not .

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


trite , banal , cliched , mostly inoffensive .

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 .


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


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


a good piece of work more often than not .


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


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

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


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


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


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


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 .

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


not only unfunny , but downright repellent .


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

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


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


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

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


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


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- .

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


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 .


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 .


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 .


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


a poignant , artfully crafted meditation on mortality .


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

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


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


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


no way i can believe this load of junk .


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

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


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


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

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


i just loved every minute of this film .


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


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 .


for starters , the story is just too slim .


a poignant , artfully crafted meditation on mortality .

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


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

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


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

the 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 .


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


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 .


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 .


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

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


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


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 .

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 .


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

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


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


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

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


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


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

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


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

affleck and jackson are good sparring partners .


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


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

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


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


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

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


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


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

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


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


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


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


uses high comedy to evoke surprising poignance .

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


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


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


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


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

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


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


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 .

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


trite , banal , cliched , mostly inoffensive .


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


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


... a magnificent drama well worth tracking down .

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


for starters , the story is just too slim .


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

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


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

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


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


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

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


-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 .


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

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


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


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 .

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 story and structure are well-honed .


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 .

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


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


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

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


it '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 .


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

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


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


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


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


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

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


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

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


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


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

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


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


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

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 .


just embarrassment and a vague sense of shame .


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

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


blanchett 's performance confirms her power once again .


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

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


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


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

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


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


manages to be both repulsively sadistic and mundane .

indifferently implausible popcorn programmer of a movie .


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 .


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


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


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

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


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


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

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


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


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


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


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

-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 .


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


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 .

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


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


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

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


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 .


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


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


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

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


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


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

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


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


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


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


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

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


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


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


uses high comedy to evoke surprising poignance .


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

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


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


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

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


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


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

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


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


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 .

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


it '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 .


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

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


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 .


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

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


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


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

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


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

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


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


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

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


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


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


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


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

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


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


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

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


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


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

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


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 .


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

no way i can believe this load of junk .


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

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


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 .

-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 .


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


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

this is 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 .


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

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


beautifully observed , miraculously unsentimental comedy-drama .


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

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


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 .


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


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


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

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


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 .


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

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


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


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

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


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 .

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


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


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

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 .


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


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


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


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

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


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


it 's 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 .

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


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


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

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


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

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


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 .

just embarrassment and a vague sense of shame .


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


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 .


will amuse and provoke adventurous adults in specialty venues .


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

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 .


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


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

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


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


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

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


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


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 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 .


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


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

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


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


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

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 ?


falls neatly into the category of good stupid fun .


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


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


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


the piquant story needs more dramatic meat on its bones .

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


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


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


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 .


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

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


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