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

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


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

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 .


no way i can believe this load of junk .

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


a quiet treasure -- a film to be savored .


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

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


dense with characters and contains some thrilling moments .


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

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


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


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

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


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


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

for starters , the story is just too slim .


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


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

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


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


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 .


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


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


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 .

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


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 .


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 .

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


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


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

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


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


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

will amuse and provoke adventurous adults in specialty venues .


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


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


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


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

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


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


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 .


detox is ultimately a pointless endeavor .


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


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

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


challenging , intermittently engrossing and unflaggingly creative .


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

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


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


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

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


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


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

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


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


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

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 poignant , artfully crafted meditation on mortality .


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 .


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


a poignant , artfully crafted meditation on mortality .

blanchett 's performance confirms her power once again .


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 .


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

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


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 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 .

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


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


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

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


the piquant story needs more dramatic meat on its bones .


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

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


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


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 .

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 .


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 .

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


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


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

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


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


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


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


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

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


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


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


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


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

a poignant , artfully crafted meditation on mortality .


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


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


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 .


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

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


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


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


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


uses high comedy to evoke surprising poignance .

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


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


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

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


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


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

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


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


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 .

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 .


trite , banal , cliched , mostly inoffensive .


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

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 .


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


... a magnificent drama well worth tracking down .

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 .


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


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


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 .


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


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

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


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

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


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 .


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 .


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 .

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


dull , lifeless , and amateurishly assembled .


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


not only unfunny , but downright repellent .


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


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


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


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 .


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

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


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 .


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

manages to be both repulsively sadistic and mundane .


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

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


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


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


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


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


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 .


no way i can believe this load of junk .


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 .

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


... a magnificent drama well worth tracking down .


manages to be both repulsively sadistic and mundane .

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


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


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

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


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


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

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


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


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


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


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

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


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


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

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


a good piece of work more often than not .


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 .

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


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

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


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

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


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


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


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

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


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


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 .

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


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


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


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

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


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


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


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

the performances take the movie to a higher level .


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 .


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


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

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


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


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 .

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


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


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

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


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


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

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 .


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


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

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


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


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

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


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


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


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


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


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


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 .

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


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 .


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

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


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


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

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


one of the most significant moviegoing pleasures of the year .


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

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


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


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

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


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


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 .


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 .

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


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


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

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- .


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


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

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 .


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


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


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

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


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


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

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 .


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


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


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

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


a poignant , artfully crafted meditation on mortality .


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

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


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

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


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


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

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 .


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


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

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


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

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


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


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


affleck and jackson are good sparring partners .


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

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


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 .


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


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


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 .

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


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 .


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

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


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


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 .

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


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


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

for starters , the story is just too slim .


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 .


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

rarely has so much money delivered so little entertainment .


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


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


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


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


the piquant story needs more dramatic meat on its bones .

just embarrassment and a vague sense of shame .


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


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

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


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 .

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


the film is quiet , threatening and unforgettable .


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

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


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


detox is ultimately a pointless endeavor .

not only unfunny , but downright repellent .


a strangely compelling and brilliantly acted psychological drama .


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


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


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 .

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


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


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

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


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


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


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


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 .


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 .


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

blanchett 's performance confirms her power once again .


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


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

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 .


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


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 .

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 .


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


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

rarely has so much money delivered so little entertainment .


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


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

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


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

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


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 strangely compelling and brilliantly acted psychological drama .

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 .


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 .


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

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


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


one of the most significant moviegoing pleasures of the year .

challenging , intermittently engrossing and unflaggingly creative .


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


-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 .


falls neatly into the category of good stupid fun .


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

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


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

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


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 .


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


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


beautifully observed , miraculously unsentimental comedy-drama .


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


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

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


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


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

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


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


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

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


for starters , the story is just too slim .


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

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


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


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

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 .


rarely has so much money delivered so little entertainment .


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


falls neatly into the category of good stupid fun .

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


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


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

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


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 .

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


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


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

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


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


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


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


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

will amuse and provoke adventurous adults in specialty venues .


just embarrassment and a vague sense of shame .


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


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

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 .


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


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

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


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


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

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


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


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

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


-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 .


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

a poignant , artfully crafted meditation on mortality .


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


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

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


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 .


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 .

indifferently implausible popcorn programmer of a movie .


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


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

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


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


challenging , intermittently engrossing and unflaggingly creative .

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


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


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

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


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


the wild thornberrys movie is a jolly surprise .


manages to be both repulsively sadistic and mundane .


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

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


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

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


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


the performances take the movie to a higher level .

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


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

for starters , the story is just too slim .


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


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

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


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 .


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


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


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

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


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


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


it 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 .

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


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


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

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


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


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

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


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


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

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


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 .


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


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

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


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


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 .

detox is ultimately a pointless endeavor .


falls neatly into the category of good stupid fun .


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


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


i just loved every minute of this film .

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


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

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


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 .


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

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


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

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 .


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


dull , lifeless , and amateurishly assembled .

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


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


-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 .


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

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


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


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


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


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


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

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


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


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

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


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


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


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

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


for starters , the story is just too slim .

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 .


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 film is quiet , threatening and unforgettable .

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


no way i can believe this load of junk .


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

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


manages to be both repulsively sadistic and mundane .


affleck and jackson are good sparring partners .

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 .


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


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

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


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


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

challenging , intermittently engrossing and unflaggingly creative .


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


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


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


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


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


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

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


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


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

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 .


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


indifferently implausible popcorn programmer of a movie .

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


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


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

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 .


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


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

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


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


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

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


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


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

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 .


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


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

the film is quiet , threatening and unforgettable .


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


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 .

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 .


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


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


just embarrassment and a vague sense of shame .


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


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

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


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 .


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


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


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

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


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


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 .

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


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

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


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


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


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

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


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 .

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 .


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


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 .

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 .


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 .


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

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 .


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


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

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


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


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

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


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 .

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


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

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


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


dense with characters and contains some thrilling moments .

affleck and jackson are good sparring partners .


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


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

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


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


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

uses high comedy to evoke surprising poignance .


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


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

if you '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 cold turkey would 've been a far better title .


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


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

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 .


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


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

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


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


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

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


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


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 .

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


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


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

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


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


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


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

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


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


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


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


a quiet treasure -- a film to be savored .

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


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

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 .


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 .

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 .


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


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

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


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


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

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 .


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

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


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


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


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

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 .


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 .


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

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


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


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

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


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


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

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


manages to be both repulsively sadistic and mundane .


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


the film is quiet , threatening and unforgettable .


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

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


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


the story and structure are well-honed .

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 .


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


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

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


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


blanchett 's performance confirms her power once again .

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


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


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 .

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 .


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


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


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

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


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

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 .


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


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


a poignant , artfully crafted meditation on mortality .


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

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


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


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

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


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


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

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


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


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 .

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


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


not only unfunny , but downright repellent .

the piquant story needs more dramatic meat on its bones .


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 .


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

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


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


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


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


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


the 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 .


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 .

manages to be both repulsively sadistic and mundane .


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

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


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


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

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


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


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


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

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


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 .


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

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


indifferently implausible popcorn programmer of a movie .


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

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


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 .


just embarrassment and a vague sense of shame .


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

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


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


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

dense with characters and contains some thrilling moments .


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


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


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 .


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 .

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


will amuse and provoke adventurous adults in specialty venues .

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


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


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

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


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

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


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


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 .


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


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

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


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

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


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 .


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

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


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


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


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


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

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


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


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

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


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 .


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

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


i just loved every minute of this film .


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

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 .


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


while 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 .


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


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


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


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

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


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


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


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


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

blanchett 's performance confirms her power once again .


indifferently implausible popcorn programmer of a movie .


no way i can believe this load of junk .

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


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


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

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


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


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

a poignant , artfully crafted meditation on mortality .


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

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


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


a good piece of work more often than not .

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


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


trite , banal , cliched , mostly inoffensive .

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 .


uses high comedy to evoke surprising poignance .


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

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 .


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


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


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


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

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


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


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

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


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


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

the wild thornberrys movie is a jolly surprise .


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 !

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 .


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


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

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 .


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


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

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


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


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


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


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


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


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


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 .


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

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 .


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

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


rarely has so much money delivered so little entertainment .


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

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


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


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

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


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


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

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


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


the film is quiet , threatening and unforgettable .


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


a poignant , artfully crafted meditation on mortality .

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


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


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


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

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


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


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

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


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


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

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 .


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


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 .

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


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


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 .

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 .


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


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

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


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


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 .


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

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 .


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


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

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 .


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


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

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 .


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


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

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


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 .


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

dull , lifeless , and amateurishly assembled .


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


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 .


uses high comedy to evoke surprising poignance .

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


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


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

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


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


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

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


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


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

the 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 .


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

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 .


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