does n't deserve a passing grade -lrb- even on a curve -rrb- .

one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .


likely to have decades of life as a classic movie franchise ?


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .


what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .

even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .


the film starts promisingly , but the ending is all too predictable and far too cliched to really work .


hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .

it 's a wonderful , sobering , heart-felt drama .


this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre gets way too mushy -- and in a relatively short amount of time .


how this one escaped the lifetime network i 'll never know .

maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


a harrowing account of a psychological breakdown .


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .

a compelling yarn , but not quite a ripping one .


eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good .


i have a new favorite musical -- and i 'm not even a fan of the genre

visually breathtaking , viscerally exciting , and dramatically moving , it 's the very definition of epic adventure .


jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .


first , for a movie that tries to be smart , it 's kinda dumb .

when your subject is illusion versus reality , should n't the reality seem at least passably real ?


even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .


cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude .


the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .

dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


the events of the film are just so weird that i honestly never knew what the hell was coming next .


snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .

one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


blessed with a searing lead performance by ryan gosling -lrb- murder by numbers -rrb- , the movie is powerful and provocative .


the film starts promisingly , but the ending is all too predictable and far too cliched to really work .

has all the complexity and realistic human behavior of an episode of general hospital .


the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .


full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .

hollywood ending is the most disappointing woody allen movie ever .


a portrait of hell so shattering it 's impossible to shake .


there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .

the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .


the solid filmmaking and convincing characters makes this a high water mark for this genre .


the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .

anyone who suffers through this film deserves , at the very least , a big box of consolation candy .


though in some ways similar to catherine breillat 's fat girl , rain is the far superior film .


this is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors .

... the whole thing succeeded only in making me groggy .


it celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '

woody allen has really found his groove these days .


it 's just that it 's so not-at-all-good .


it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .


it should be doing a lot of things , but does n't .


does n't deserve a passing grade -lrb- even on a curve -rrb- .


the lady and the duke is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .


a soul-stirring documentary about the israeli\/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .

boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .


it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .

wonder of wonders -- a teen movie with a humanistic message .


ah , yes , that would be me : fighting off the urge to doze .


hollywood ending is the most disappointing woody allen movie ever .

contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


dull , a road-trip movie that 's surprisingly short of both adventure and song .


nohe 's documentary about the event is sympathetic without being gullible : he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction .


the problem with the bread , my sweet is that it 's far too sentimental .

a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .


and they succeed merrily at their noble endeavor .

blessed with a searing lead performance by ryan gosling -lrb- murder by numbers -rrb- , the movie is powerful and provocative .


a fake street drama that keeps telling you things instead of showing them .


make like the title and dodge this one .

but seriously , folks , it does n't work .


it 's a wonderful , sobering , heart-felt drama .


waiting for godard can be fruitful : ` in praise of love ' is the director 's epitaph for himself .

although frailty fits into a classic genre , in its script and execution it is a remarkably original work .


a dark comedy that goes for sick and demented humor simply to do so .

while some of the camera work is interesting , the film 's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .


with an unusual protagonist -lrb- a kilt-wearing jackson -rrb- and subject matter , the improbable `` formula 51 '' is somewhat entertaining , but it could have been much stronger .


woody allen has really found his groove these days .


imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor .

-lrb- a -rrb- rather thinly-conceived movie .


boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .

... the whole thing succeeded only in making me groggy .


it 's never dull and always looks good .


the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it .

the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .


it 's just that it 's so not-at-all-good .


a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state .

hollywood ending is the most disappointing woody allen movie ever .


whether or not you 're enlightened by any of derrida 's lectures on `` the other '' and `` the self , '' derrida is an undeniably fascinating and playful fellow .


what 's really sad is to see two academy award winning actresses -lrb- and one academy award winning actor -rrb- succumb to appearing in this junk that 's tv sitcom material at best .

while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .


the emotion is impressively true for being so hot-blooded , and both leads are up to the task .


ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .


a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .

despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j.k. rowling 's marvelous series into a deadly bore .


with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


a weird little movie that 's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media subcultures .


dull , a road-trip movie that 's surprisingly short of both adventure and song .


adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt

while some of the camera work is interesting , the film 's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .


it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .


the film has -lrb- its -rrb- moments , but they are few and far between .

it collapses when mr. taylor tries to shift the tone to a thriller 's rush .


a moving tale of love and destruction in unexpected places , unexamined lives .


woody allen has really found his groove these days .

... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


one can only assume that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .

a dark comedy that goes for sick and demented humor simply to do so .


there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .


and we do n't avert our eyes for a moment .


mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .

chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .


this gorgeous epic is guaranteed to lift the spirits of the whole family .


nothing happens , and it happens to flat characters .

this is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors .


the story 's scope and pageantry are mesmerizing , and mr. day-lewis roars with leonine power .


the film has a terrific look and salma hayek has a feel for the character at all stages of her life .

wonder of wonders -- a teen movie with a humanistic message .


while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .

the story is bogus and its characters tissue-thin .


with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


a film of delicate interpersonal dances .

it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .


the whole film has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .


like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .

a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


with this masterful , flawless film , -lrb- wang -rrb- emerges in the front ranks of china 's now numerous , world-renowned filmmakers .

a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


hollywood ending is the most disappointing woody allen movie ever .


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .


an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


blessed with a searing lead performance by ryan gosling -lrb- murder by numbers -rrb- , the movie is powerful and provocative .


dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


but unless you 're an absolute raving star wars junkie , it is n't much fun .


woody allen has really found his groove these days .


if you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you 're at the right film .

an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '


cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story . '


the movie is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory .

too much of storytelling moves away from solondz 's social critique , casting its audience as that of intellectual lector in contemplation of the auteur 's professional injuries .


with this masterful , flawless film , -lrb- wang -rrb- emerges in the front ranks of china 's now numerous , world-renowned filmmakers .


tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience .

it 's never dull and always looks good .


spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units .


the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .

like life on the island , the movie grows boring despite the scenery .


a soul-stirring documentary about the israeli\/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .


after one gets the feeling that the typical hollywood disregard for historical truth and realism is at work here , it 's a matter of finding entertainment in the experiences of zishe and the fiery presence of hanussen .


despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j.k. rowling 's marvelous series into a deadly bore .


if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia


there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


a compelling yarn , but not quite a ripping one .

` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


one can only assume that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off


imamura has said that warm water under a red bridge is a poem to the enduring strengths of women .

even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .


the beautiful images and solemn words can not disguise the slack complacency of -lrb- godard 's -rrb- vision , any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice .


and , there 's no way you wo n't be talking about the film once you exit the theater .

and we do n't avert our eyes for a moment .


adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt


there 's nothing to gain from watching they .

i suspect that you 'll be as bored watching morvern callar as the characters are in it .


below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .


imagine susan sontag falling in love with howard stern .


these people are really going to love the piano teacher .


an inexperienced director , mehta has much to learn .


too much of storytelling moves away from solondz 's social critique , casting its audience as that of intellectual lector in contemplation of the auteur 's professional injuries .


though in some ways similar to catherine breillat 's fat girl , rain is the far superior film .


the film never finds its tone and several scenes run too long .


undoubtedly the scariest movie ever made about tattoos .


richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .


it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .


a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .

a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .


if you 're down for a silly hack-and-slash flick , you can do no wrong with jason x.


has all the complexity and realistic human behavior of an episode of general hospital .

there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .


sensual , funny and , in the end , very touching .


visually breathtaking , viscerally exciting , and dramatically moving , it 's the very definition of epic adventure .

it 's a wonderful , sobering , heart-felt drama .


this gorgeous epic is guaranteed to lift the spirits of the whole family .


the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .


and thanks to kline 's superbly nuanced performance , that pondering is highly pleasurable .

the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


this gorgeous epic is guaranteed to lift the spirits of the whole family .

boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


like life on the island , the movie grows boring despite the scenery .

... the whole thing succeeded only in making me groggy .


hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .


cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story . '


i 'd be hard pressed to think of a film more cloyingly sappy than evelyn this year .

mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .


the movie 's thesis -- elegant technology for the masses -- is surprisingly refreshing .


ah , yes , that would be me : fighting off the urge to doze .


all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .


an edifying glimpse into the wit and revolutionary spirit of these performers and their era .

your children will be occupied for 72 minutes .


if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances .


depicts the sorriest and most sordid of human behavior on the screen , then laughs at how clever it 's being .

nicks and steinberg match their own creations for pure venality -- that 's giving it the old college try .


dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


a timely look back at civil disobedience , anti-war movements and the power of strong voices .

a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


what 's hard to understand is why anybody picked it up .


the film , despite the gratuitous cinematic distractions impressed upon it , is still good fun .

-lrb- rises -rrb- above its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism .


one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .


hollywood ending is the most disappointing woody allen movie ever .


while insomnia is in many ways a conventional , even predictable remake , nolan 's penetrating undercurrent of cerebral and cinemantic flair lends -lrb- it -rrb- stimulating depth .

a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .


the characters are more deeply thought through than in most ` right-thinking ' films .

it 's a day at the beach -- with air conditioning and popcorn .


a loud , brash and mainly unfunny high school comedy .


i have a new favorite musical -- and i 'm not even a fan of the genre


make like the title and dodge this one .


i love the opening scenes of a wintry new york city in 1899 .

the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .


the movie is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory .


while most films these days are about nothing , this film seems to be about everything that 's plaguing the human spirit in a relentlessly globalizing world .


but unless you 're an absolute raving star wars junkie , it is n't much fun .


no amount of arty theorizing -- the special effects are ` german-expressionist , ' according to the press notes -- can render it anything but laughable .

mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .


ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .


a lightweight , uneven action comedy that freely mingles french , japanese and hollywood cultures .

a rambling ensemble piece with loosely connected characters and plots that never quite gel .


an enjoyable comedy of lingual and cultural differences ... the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten .


offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film .

serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .


if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia

richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .


this gorgeous epic is guaranteed to lift the spirits of the whole family .


an overstylized , puréed mélange of sex , psychology , drugs and philosophy .

full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .


but it also has many of the things that made the first one charming .


a loud , brash and mainly unfunny high school comedy .

little more than a well-mounted history lesson .


it celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '


nothing happens , and it happens to flat characters .


if you 're down for a silly hack-and-slash flick , you can do no wrong with jason x.

your children will be occupied for 72 minutes .


woven together handsomely , recalling sixties ' rockumentary milestones from lonely boy to do n't look back .

lovingly photographed in the manner of a golden book sprung to life , stuart little 2 manages sweetness largely without stickiness .


while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .


below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .

all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .


... too contrived to be as naturally charming as it needs to be .


spielberg 's picture is smarter and subtler than -lrb- total recall and blade runner -rrb- , although its plot may prove too convoluted for fun-seeking summer audiences .

a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


though it pretends to expose the life of male hustlers , it 's exploitive without being insightful .

adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt


but seriously , folks , it does n't work .


fortunately , elling never gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry .

and , there 's no way you wo n't be talking about the film once you exit the theater .


first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations becomes more and more frustrating as the film goes on .


your 20th outing shows off a lot of stamina and vitality , and get this , madonna 's cameo does n't suck !

wonder of wonders -- a teen movie with a humanistic message .


a rambling ensemble piece with loosely connected characters and plots that never quite gel .


an inexperienced director , mehta has much to learn .


the adventures of pluto nash is a whole lot of nada .


woven together handsomely , recalling sixties ' rockumentary milestones from lonely boy to do n't look back .


the beautiful images and solemn words can not disguise the slack complacency of -lrb- godard 's -rrb- vision , any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice .

it collapses when mr. taylor tries to shift the tone to a thriller 's rush .


an enjoyable comedy of lingual and cultural differences ... the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten .


at times , the movie looks genuinely pretty .

... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?


enough is not a bad movie , just mediocre .


an edifying glimpse into the wit and revolutionary spirit of these performers and their era .


almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '

the film has a terrific look and salma hayek has a feel for the character at all stages of her life .


problem is , we have no idea what in creation is going on .


a portrait of hell so shattering it 's impossible to shake .

and we do n't avert our eyes for a moment .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


an enjoyable comedy of lingual and cultural differences ... the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor .


the performers are so spot on , it is hard to conceive anyone else in their roles .


long before it 's over , you 'll be thinking of 51 ways to leave this loser .


sensual , funny and , in the end , very touching .

stevens ' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .


mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .


even accepting this in the right frame of mind can only provide it with so much leniency .

a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .


... the whole thing succeeded only in making me groggy .


it all plays out ... like a high-end john hughes comedy , a kind of elder bueller 's time out .


there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .


rarely does a film so graceless and devoid of merit as this one come along .


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes .


despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j.k. rowling 's marvelous series into a deadly bore .


it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .

it is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph .


it 's fairly solid -- not to mention well edited so that it certainly does n't feel like a film that strays past the two and a half mark .

the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .


the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .


but the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .


if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .

a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


a fake street drama that keeps telling you things instead of showing them .

one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .


all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .


the story 's scope and pageantry are mesmerizing , and mr. day-lewis roars with leonine power .


talky , artificial and opaque ... an interesting technical exercise , but a tedious picture .


a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .

serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .


like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .


stevens ' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .

what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


the lady and the duke is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .


what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .


a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


it celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '


pretend like your sat scores are below 120 and you might not notice the flaws .


it 's never dull and always looks good .


what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .

when your subject is illusion versus reality , should n't the reality seem at least passably real ?


exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .


like life on the island , the movie grows boring despite the scenery .


an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '


little more than a well-mounted history lesson .

there 's nothing to gain from watching they .


below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .


what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .

has all the complexity and realistic human behavior of an episode of general hospital .


the story 's scope and pageantry are mesmerizing , and mr. day-lewis roars with leonine power .


a rambling ensemble piece with loosely connected characters and plots that never quite gel .

how this one escaped the lifetime network i 'll never know .


almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .

but it also has many of the things that made the first one charming .


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .


the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .

tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience .


for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .


it collapses when mr. taylor tries to shift the tone to a thriller 's rush .

the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .


with an admirably dark first script by brent hanley , paxton , making his directorial feature debut , does strong , measured work .


the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .

while some of the camera work is interesting , the film 's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .


it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .


one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace .

a hypnotic cyber hymn and a cruel story of youth culture .


a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .


one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .

but unless you 're an absolute raving star wars junkie , it is n't much fun .


happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .


spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units .

talky , artificial and opaque ... an interesting technical exercise , but a tedious picture .


as comedic spotlights go , notorious c.h.o. hits all the verbal marks it should .


as a film director , labute continues to improve .

the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it .


its initial excitement settles into a warmed over pastiche .

the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .


undoubtedly the scariest movie ever made about tattoos .


with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .


the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough .

the emotion is impressively true for being so hot-blooded , and both leads are up to the task .


though it pretends to expose the life of male hustlers , it 's exploitive without being insightful .


the emotion is impressively true for being so hot-blooded , and both leads are up to the task .

it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .


we just do n't really care too much about this love story .


when your subject is illusion versus reality , should n't the reality seem at least passably real ?

i suspect that you 'll be as bored watching morvern callar as the characters are in it .


it 's fairly solid -- not to mention well edited so that it certainly does n't feel like a film that strays past the two and a half mark .


though in some ways similar to catherine breillat 's fat girl , rain is the far superior film .


first , for a movie that tries to be smart , it 's kinda dumb .


it 's just that it 's so not-at-all-good .

does n't deserve a passing grade -lrb- even on a curve -rrb- .


after you laugh once -lrb- maybe twice -rrb- , you will have completely forgotten the movie by the time you get back to your car in the parking lot .

but there 's plenty to offend everyone ...


it all plays out ... like a high-end john hughes comedy , a kind of elder bueller 's time out .


it establishes its ominous mood and tension swiftly , and if the suspense never rises to a higher level , it is nevertheless maintained throughout .

an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '


an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature .


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .


it 's a funny little movie with clever dialogue and likeable characters .

and they succeed merrily at their noble endeavor .


spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units .


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .

spielberg 's picture is smarter and subtler than -lrb- total recall and blade runner -rrb- , although its plot may prove too convoluted for fun-seeking summer audiences .


how this one escaped the lifetime network i 'll never know .


... unlike -lrb- scorsese 's mean streets -rrb- , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .

the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .


it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes .


an improvement on the feeble examples of big-screen poke-mania that have preceded it .

nohe 's documentary about the event is sympathetic without being gullible : he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction .


a rambling ensemble piece with loosely connected characters and plots that never quite gel .


adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .


and we do n't avert our eyes for a moment .


this comic gem is as delightful as it is derivative .

` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus ... ` the country bears ' should never have been brought out of hibernation .


it should be doing a lot of things , but does n't .

if there was ever a movie where the upbeat ending feels like a copout , this is the one .


undoubtedly the scariest movie ever made about tattoos .

dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


rarely does a film so graceless and devoid of merit as this one come along .


a pretty decent kid-pleasing , tolerable-to-adults lark of a movie .


one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .


a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .


the movie 's thesis -- elegant technology for the masses -- is surprisingly refreshing .

it 's far from a frothy piece , and the characters are complex , laden with plenty of baggage and tinged with tragic undertones .


the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one -lrb- and no one -rrb- .

director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?


ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .


the whole film has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .

an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


i have a new favorite musical -- and i 'm not even a fan of the genre


exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .

a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .

problem is , we have no idea what in creation is going on .


and they succeed merrily at their noble endeavor .


comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .

the movie is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory .


wonder of wonders -- a teen movie with a humanistic message .


lovingly photographed in the manner of a golden book sprung to life , stuart little 2 manages sweetness largely without stickiness .

while most films these days are about nothing , this film seems to be about everything that 's plaguing the human spirit in a relentlessly globalizing world .


while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .


but there 's plenty to offend everyone ...


whether or not you 're enlightened by any of derrida 's lectures on `` the other '' and `` the self , '' derrida is an undeniably fascinating and playful fellow .

one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one -lrb- and no one -rrb- .


likely to have decades of life as a classic movie franchise ?


while some of the camera work is interesting , the film 's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .

comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .


if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances .

the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .


at times , the movie looks genuinely pretty .


all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .

there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


there 's nothing to gain from watching they .


the story 's scope and pageantry are mesmerizing , and mr. day-lewis roars with leonine power .


nicks and steinberg match their own creations for pure venality -- that 's giving it the old college try .


... too contrived to be as naturally charming as it needs to be .

a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


a raunchy and frequently hilarious follow-up to the gifted korean american stand-up 's i 'm the one that i want .


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .

a soul-stirring documentary about the israeli\/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .


make like the title and dodge this one .


true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus ... ` the country bears ' should never have been brought out of hibernation .

the film starts promisingly , but the ending is all too predictable and far too cliched to really work .


a film of delicate interpersonal dances .


a buoyant romantic comedy about friendship , love , and the truth that we 're all in this together .


if ever such a dependable concept was botched in execution , this is it .


gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .


-lrb- a -rrb- rather thinly-conceived movie .

it 's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny .


... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


it is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph .

what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .


the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .


these people are really going to love the piano teacher .

on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .


cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude .

but the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .


it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .


it 's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny .

nothing happens , and it happens to flat characters .


woody allen has really found his groove these days .


boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one -lrb- and no one -rrb- .


it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .


mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .

a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


a buoyant romantic comedy about friendship , love , and the truth that we 're all in this together .

serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .


one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


after one gets the feeling that the typical hollywood disregard for historical truth and realism is at work here , it 's a matter of finding entertainment in the experiences of zishe and the fiery presence of hanussen .

below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .


a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .

so devoid of pleasure or sensuality that it can not even be dubbed hedonistic .


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .

a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state .


happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .


chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .

rarely does a film so graceless and devoid of merit as this one come along .


almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


as a feature-length film , it wears out its welcome as tryingly as the title character .

the adventures of pluto nash is a whole lot of nada .


stevens ' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .


... too contrived to be as naturally charming as it needs to be .


one can only assume that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off

richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .


the solid filmmaking and convincing characters makes this a high water mark for this genre .

it establishes its ominous mood and tension swiftly , and if the suspense never rises to a higher level , it is nevertheless maintained throughout .


the film never finds its tone and several scenes run too long .

the country bears wastes an exceptionally good idea .


if you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you 're at the right film .


a dark comedy that goes for sick and demented humor simply to do so .


hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .


i suspect that you 'll be as bored watching morvern callar as the characters are in it .

but unless you 're an absolute raving star wars junkie , it is n't much fun .


there 's got to be a more graceful way of portraying the devastation of this disease .


a good film with a solid pedigree both in front of and , more specifically , behind the camera .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .

the events of the film are just so weird that i honestly never knew what the hell was coming next .


it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .


this bond film goes off the beaten path , not necessarily for the better .

there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .


it 's far from a frothy piece , and the characters are complex , laden with plenty of baggage and tinged with tragic undertones .


a weird little movie that 's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media subcultures .

a pretty decent kid-pleasing , tolerable-to-adults lark of a movie .


the film starts promisingly , but the ending is all too predictable and far too cliched to really work .


it 's far from a frothy piece , and the characters are complex , laden with plenty of baggage and tinged with tragic undertones .

a weird little movie that 's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media subcultures .


rarely does a film so graceless and devoid of merit as this one come along .


first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations becomes more and more frustrating as the film goes on .

it 's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny .


dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


the country bears wastes an exceptionally good idea .

the story is bogus and its characters tissue-thin .


... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...

there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .


tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience .


-lrb- a -rrb- rather thinly-conceived movie .


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .

yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre gets way too mushy -- and in a relatively short amount of time .

enough is not a bad movie , just mediocre .


one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


never inspires more than an interested detachment .

a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .


it 's a day at the beach -- with air conditioning and popcorn .


an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .


a pretty decent kid-pleasing , tolerable-to-adults lark of a movie .


talky , artificial and opaque ... an interesting technical exercise , but a tedious picture .

spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units .


nohe 's documentary about the event is sympathetic without being gullible : he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction .


adults , other than the parents ... will be hard pressed to succumb to the call of the wild .

maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


a hypnotic cyber hymn and a cruel story of youth culture .


it all plays out ... like a high-end john hughes comedy , a kind of elder bueller 's time out .

it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .


so devoid of pleasure or sensuality that it can not even be dubbed hedonistic .

if there was ever a movie where the upbeat ending feels like a copout , this is the one .


your children will be occupied for 72 minutes .


the story is bogus and its characters tissue-thin .

although god is great addresses interesting matters of identity and heritage , it 's hard to shake the feeling that it was intended to be a different kind of film .


the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing .

... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .


director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?


when your subject is illusion versus reality , should n't the reality seem at least passably real ?


... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .

happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


enough is not a bad movie , just mediocre .


and we do n't avert our eyes for a moment .


it should be doing a lot of things , but does n't .


michele is a such a brainless flibbertigibbet that it 's hard to take her spiritual quest at all seriously .


anyone who suffers through this film deserves , at the very least , a big box of consolation candy .

eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good .


whether or not you 're enlightened by any of derrida 's lectures on `` the other '' and `` the self , '' derrida is an undeniably fascinating and playful fellow .


adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .

true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus ... ` the country bears ' should never have been brought out of hibernation .


it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes .


a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature .

a timely look back at civil disobedience , anti-war movements and the power of strong voices .


wonder of wonders -- a teen movie with a humanistic message .

fortunately , elling never gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry .


mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .


what 's hard to understand is why anybody picked it up .

impostor is a step down for director gary fleder .


an improvement on the feeble examples of big-screen poke-mania that have preceded it .


nohe 's documentary about the event is sympathetic without being gullible : he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction .

a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .


never inspires more than an interested detachment .


the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing .


we just do n't really care too much about this love story .


one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .


although god is great addresses interesting matters of identity and heritage , it 's hard to shake the feeling that it was intended to be a different kind of film .

problem is , we have no idea what in creation is going on .


the story 's scope and pageantry are mesmerizing , and mr. day-lewis roars with leonine power .


boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


this bond film goes off the beaten path , not necessarily for the better .


it 's never dull and always looks good .


turturro is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing\/reappearing acts

the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough .


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .

the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .


these people are really going to love the piano teacher .


maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .


a buoyant romantic comedy about friendship , love , and the truth that we 're all in this together .


despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j.k. rowling 's marvelous series into a deadly bore .

an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


but it also has many of the things that made the first one charming .


with an admirably dark first script by brent hanley , paxton , making his directorial feature debut , does strong , measured work .

stevens ' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .


even accepting this in the right frame of mind can only provide it with so much leniency .


there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .

although shot with little style , skins is heartfelt and achingly real .


an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '

it all plays out ... like a high-end john hughes comedy , a kind of elder bueller 's time out .


little more than a well-mounted history lesson .


one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


i have a new favorite musical -- and i 'm not even a fan of the genre


although frailty fits into a classic genre , in its script and execution it is a remarkably original work .

undoubtedly the scariest movie ever made about tattoos .


there 's nothing to gain from watching they .


the events of the film are just so weird that i honestly never knew what the hell was coming next .

what 's really sad is to see two academy award winning actresses -lrb- and one academy award winning actor -rrb- succumb to appearing in this junk that 's tv sitcom material at best .


boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun .


as comedic spotlights go , notorious c.h.o. hits all the verbal marks it should .

a good film with a solid pedigree both in front of and , more specifically , behind the camera .


but there 's plenty to offend everyone ...


-lrb- rises -rrb- above its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism .

dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


` if you are in the mood for an intelligent weepy , it can easily worm its way into your heart . '

your children will be occupied for 72 minutes .


the story is bogus and its characters tissue-thin .


a raunchy and frequently hilarious follow-up to the gifted korean american stand-up 's i 'm the one that i want .

this comic gem is as delightful as it is derivative .


yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .

if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .


how this one escaped the lifetime network i 'll never know .


a lot more dimensional and complex than its sunny disposition would lead you to believe .

what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .


this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre gets way too mushy -- and in a relatively short amount of time .


angel presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale .

sensual , funny and , in the end , very touching .


but seriously , folks , it does n't work .


with an unusual protagonist -lrb- a kilt-wearing jackson -rrb- and subject matter , the improbable `` formula 51 '' is somewhat entertaining , but it could have been much stronger .

a portrait of hell so shattering it 's impossible to shake .


a lightweight , uneven action comedy that freely mingles french , japanese and hollywood cultures .


the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .

a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations becomes more and more frustrating as the film goes on .


a moving tale of love and destruction in unexpected places , unexamined lives .

with an admirably dark first script by brent hanley , paxton , making his directorial feature debut , does strong , measured work .


i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .


nicks and steinberg match their own creations for pure venality -- that 's giving it the old college try .

rarely does a film so graceless and devoid of merit as this one come along .


it 's a day at the beach -- with air conditioning and popcorn .


another trumpet blast that there may be a new mexican cinema a-bornin ' . '

all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .


mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .


a hypnotic cyber hymn and a cruel story of youth culture .


maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


while insomnia is in many ways a conventional , even predictable remake , nolan 's penetrating undercurrent of cerebral and cinemantic flair lends -lrb- it -rrb- stimulating depth .


problem is , we have no idea what in creation is going on .

a loud , brash and mainly unfunny high school comedy .


the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .


the movie is hardly a masterpiece , but it does mark ms. bullock 's best work in some time .


nothing happens , and it happens to flat characters .


and thanks to kline 's superbly nuanced performance , that pondering is highly pleasurable .


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .

imagine susan sontag falling in love with howard stern .


another trumpet blast that there may be a new mexican cinema a-bornin ' . '


ah , yes , that would be me : fighting off the urge to doze .

michele is a such a brainless flibbertigibbet that it 's hard to take her spiritual quest at all seriously .


if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .


we just do n't really care too much about this love story .


the solid filmmaking and convincing characters makes this a high water mark for this genre .


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .

below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .


director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?


a good film with a solid pedigree both in front of and , more specifically , behind the camera .

there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front .


snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .


impostor is a step down for director gary fleder .

what 's really sad is to see two academy award winning actresses -lrb- and one academy award winning actor -rrb- succumb to appearing in this junk that 's tv sitcom material at best .


a soul-stirring documentary about the israeli\/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .


a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .

the film , despite the gratuitous cinematic distractions impressed upon it , is still good fun .


an inexperienced director , mehta has much to learn .


likely to have decades of life as a classic movie franchise ?

a moving tale of love and destruction in unexpected places , unexamined lives .


comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .


director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?

it should be doing a lot of things , but does n't .


a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker 's period pieces , is still very much worth seeing .


long before it 's over , you 'll be thinking of 51 ways to leave this loser .


the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it .


wonder of wonders -- a teen movie with a humanistic message .


the film does n't sustain its initial promise with a jarring , new-agey tone creeping into the second half


blessed with a searing lead performance by ryan gosling -lrb- murder by numbers -rrb- , the movie is powerful and provocative .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .


although god is great addresses interesting matters of identity and heritage , it 's hard to shake the feeling that it was intended to be a different kind of film .


spielberg 's picture is smarter and subtler than -lrb- total recall and blade runner -rrb- , although its plot may prove too convoluted for fun-seeking summer audiences .


although shot with little style , skins is heartfelt and achingly real .

likely to have decades of life as a classic movie franchise ?


the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .


jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .


it 's a wonderful , sobering , heart-felt drama .

your 20th outing shows off a lot of stamina and vitality , and get this , madonna 's cameo does n't suck !


-lrb- a -rrb- rather thinly-conceived movie .


your children will be occupied for 72 minutes .

with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


what 's hard to understand is why anybody picked it up .


the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .


if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .


turturro is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing\/reappearing acts


this bond film goes off the beaten path , not necessarily for the better .


eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good .

what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .


exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .


it 's a day at the beach -- with air conditioning and popcorn .

ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .


a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .


a harrowing account of a psychological breakdown .

it is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph .


little more than a well-mounted history lesson .


there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .

mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .


dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .

dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .


adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .


the film does n't sustain its initial promise with a jarring , new-agey tone creeping into the second half


dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


an energizing , intoxicating documentary charting the rise of hip-hop culture in general and the art of scratching -lrb- or turntablism -rrb- in particular .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


if there was ever a movie where the upbeat ending feels like a copout , this is the one .

the events of the film are just so weird that i honestly never knew what the hell was coming next .


the lady and the duke is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .


dull , a road-trip movie that 's surprisingly short of both adventure and song .


as a film director , labute continues to improve .


does n't deserve a passing grade -lrb- even on a curve -rrb- .

to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .


while insomnia is in many ways a conventional , even predictable remake , nolan 's penetrating undercurrent of cerebral and cinemantic flair lends -lrb- it -rrb- stimulating depth .


a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .

enough is not a bad movie , just mediocre .


it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .


what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music .

a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare .

a pretty decent kid-pleasing , tolerable-to-adults lark of a movie .


rarely does a film so graceless and devoid of merit as this one come along .


how this one escaped the lifetime network i 'll never know .

-lrb- a -rrb- rather thinly-conceived movie .


` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


... unlike -lrb- scorsese 's mean streets -rrb- , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .


i have a new favorite musical -- and i 'm not even a fan of the genre

with so many bad romances out there , this is the kind of movie that deserves a chance to shine .


a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .


first , for a movie that tries to be smart , it 's kinda dumb .

there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .


it establishes its ominous mood and tension swiftly , and if the suspense never rises to a higher level , it is nevertheless maintained throughout .


even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .

dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .


while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .


the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '


the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .


snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .


the film starts promisingly , but the ending is all too predictable and far too cliched to really work .

a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .

... too contrived to be as naturally charming as it needs to be .


an improvement on the feeble examples of big-screen poke-mania that have preceded it .


there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .


the movie is hardly a masterpiece , but it does mark ms. bullock 's best work in some time .


the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .

maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group ... and never fails to entertain .


this is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors .

an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .


it celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '

undoubtedly the scariest movie ever made about tattoos .


a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .


it ai n't art , by a long shot , but unlike last year 's lame musketeer , this dumas adaptation entertains .

a good film with a solid pedigree both in front of and , more specifically , behind the camera .


the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .


there 's got to be a more graceful way of portraying the devastation of this disease .


` film aficionados can not help but love cinema paradiso , whether the original version or new director 's cut . '


a soul-stirring documentary about the israeli\/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .

spielberg 's picture is smarter and subtler than -lrb- total recall and blade runner -rrb- , although its plot may prove too convoluted for fun-seeking summer audiences .


if ever such a dependable concept was botched in execution , this is it .


it 's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .


hollywood ending is the most disappointing woody allen movie ever .

no amount of arty theorizing -- the special effects are ` german-expressionist , ' according to the press notes -- can render it anything but laughable .


the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .


the problem with the bread , my sweet is that it 's far too sentimental .

talky , artificial and opaque ... an interesting technical exercise , but a tedious picture .


an uncluttered , resonant gem that relays its universal points without lectures or confrontations . '


and they succeed merrily at their noble endeavor .

one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


the adventures of pluto nash is a whole lot of nada .


make like the title and dodge this one .


it 's never dull and always looks good .


waiting for godard can be fruitful : ` in praise of love ' is the director 's epitaph for himself .

the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing .


one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .


a dark comedy that goes for sick and demented humor simply to do so .

first , for a movie that tries to be smart , it 's kinda dumb .


fortunately , elling never gets too cloying thanks to the actors ' perfect comic timing and sweet , genuine chemistry .


a portrait of hell so shattering it 's impossible to shake .


eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good .


imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor .

there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .


a timely look back at civil disobedience , anti-war movements and the power of strong voices .


everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .


a raunchy and frequently hilarious follow-up to the gifted korean american stand-up 's i 'm the one that i want .


the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it .

it 's a funny little movie with clever dialogue and likeable characters .


one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .


a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state .

hollywood ending is the most disappointing woody allen movie ever .


although frailty fits into a classic genre , in its script and execution it is a remarkably original work .


what 's really sad is to see two academy award winning actresses -lrb- and one academy award winning actor -rrb- succumb to appearing in this junk that 's tv sitcom material at best .

maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .


ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .

a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .


the story is bogus and its characters tissue-thin .


a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .

the beautiful images and solemn words can not disguise the slack complacency of -lrb- godard 's -rrb- vision , any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice .


a harrowing account of a psychological breakdown .


the movie is hardly a masterpiece , but it does mark ms. bullock 's best work in some time .


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .


adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt

if there was ever a movie where the upbeat ending feels like a copout , this is the one .


the film has -lrb- its -rrb- moments , but they are few and far between .


if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .


woody allen has really found his groove these days .

one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .


contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .

but seriously , folks , it does n't work .


one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace .


i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .

imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor .


it 's a wonderful , sobering , heart-felt drama .


mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .

the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .


a timely look back at civil disobedience , anti-war movements and the power of strong voices .


nothing happens , and it happens to flat characters .

a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .


the film has a terrific look and salma hayek has a feel for the character at all stages of her life .

wonder of wonders -- a teen movie with a humanistic message .


comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .


while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .


a film of delicate interpersonal dances .


yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...


like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .


sensual , funny and , in the end , very touching .


with this masterful , flawless film , -lrb- wang -rrb- emerges in the front ranks of china 's now numerous , world-renowned filmmakers .

the solid filmmaking and convincing characters makes this a high water mark for this genre .


the whole film has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .


this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .


angel presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale .


an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades


one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead .


if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia


woody allen has really found his groove these days .


but unless you 're an absolute raving star wars junkie , it is n't much fun .

the events of the film are just so weird that i honestly never knew what the hell was coming next .


it 's far from a frothy piece , and the characters are complex , laden with plenty of baggage and tinged with tragic undertones .


if you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you 're at the right film .

a good film with a solid pedigree both in front of and , more specifically , behind the camera .


depicts the sorriest and most sordid of human behavior on the screen , then laughs at how clever it 's being .