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 .

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


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 .

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 .


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

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


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


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 .


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

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


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


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

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


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


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


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


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


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

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


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


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

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


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


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 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 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 .


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

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 .


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


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


the story is bogus and its characters tissue-thin .


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 .


little more than a well-mounted history lesson .

an inexperienced director , mehta has much to learn .


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

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


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 .


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


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

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


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


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

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


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


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


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


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


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

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


and they succeed merrily at their noble endeavor .


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

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


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


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 .


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


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


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


as a film director , labute continues to improve .


the story is bogus and its characters tissue-thin .


its initial excitement settles into a warmed over pastiche .


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


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

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


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

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


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


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


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 .

these people are really going to love the piano teacher .


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


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

there 's nothing to gain from watching they .


a harrowing account of a psychological breakdown .


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 .

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 .


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


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

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


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 .


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


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 a funny little movie with clever dialogue and likeable characters .

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


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


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 .

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


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

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


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


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

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


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


this comic gem is as delightful as it is derivative .

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 .


enough is not a bad movie , just mediocre .


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

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


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


undoubtedly the scariest movie ever made about tattoos .


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


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

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

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


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


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

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


the country bears wastes an exceptionally good idea .


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- .

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


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


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


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 .


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 .


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


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 .

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


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


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 .


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


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

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


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


but there 's plenty to offend everyone ...

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


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


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 .

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


but there 's plenty to offend everyone ...


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


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


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

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


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


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

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


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


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 .

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


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


-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 .


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


... 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 .


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


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

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


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


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 .


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


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


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 .


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

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 .


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 .


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


these people are really going to love the piano teacher .

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


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 .


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


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


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


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

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 .


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


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

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


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


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

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


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


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 .

this comic gem is as delightful as it is derivative .


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


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

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


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


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


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 .

little more than a well-mounted history lesson .


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


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

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


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


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


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


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

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


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


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

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 .


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


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

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 .


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


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


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


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

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


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


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

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


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

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


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


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

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


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


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 .

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 .


hollywood ending is the most disappointing woody allen movie ever .


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


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


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 .

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


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


the country bears wastes an exceptionally good idea .


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


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 .


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


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

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


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

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


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 .


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 .

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


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


never inspires more than an interested detachment .


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


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


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


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


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


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


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

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


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

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


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 .


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

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


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


the story is bogus and its characters tissue-thin .

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


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

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


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


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


... 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 .

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


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


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


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


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

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


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


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


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


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

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


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

-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 .


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


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

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


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

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 .


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 .

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


its initial excitement settles into a warmed over pastiche .


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


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

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 .


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


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


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

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


it 's never dull and always looks good .


but there 's plenty to offend everyone ...


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

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 .


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


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

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


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


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


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 .


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 .


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


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 .

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 .


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


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

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


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


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 .

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


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

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 .


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 .


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 .

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


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 .


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


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


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


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

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


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


-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 .

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


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


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

at times , the movie looks genuinely pretty .


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


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

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


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


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

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


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


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

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


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 .


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

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


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


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 harrowing account of a psychological breakdown .


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


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 .


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


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

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


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

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 .


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

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 .


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


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

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


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


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


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


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


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

as a film director , labute continues to improve .


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


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


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


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 .

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


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


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

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


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 .


there 's nothing to gain from watching they .


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 .


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 .

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


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 .

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


hollywood ending is the most disappointing woody allen movie ever .


impostor is a step down for director gary fleder .

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


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


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

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


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


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

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 .


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 ?

the story is bogus and its characters tissue-thin .


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

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


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


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

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


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


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 .


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

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


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


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


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

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


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

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


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


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 .


your children will be occupied for 72 minutes .

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 .


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


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


woody allen has really found his groove these days .


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 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 .


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 .

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


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


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


there 's nothing to gain from watching they .


a harrowing account of a psychological breakdown .

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


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 .

never inspires more than an interested detachment .


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


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

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


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

little more than a well-mounted history lesson .


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

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


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


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

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


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


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

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


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


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

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


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


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 .

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


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


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

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


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 .

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


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


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 .

it 's never dull and always looks good .


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 .


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


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


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 .


a harrowing account of a psychological breakdown .


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

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


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

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


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


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 .


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 .


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

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


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 .

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 .


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


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


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


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

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


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


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

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


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

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


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


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


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 .


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

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


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


hollywood ending is the most disappointing woody allen movie ever .

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 .


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


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 ?


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


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

a loud , brash and mainly unfunny high school comedy .


and they succeed merrily at their noble endeavor .


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


make like the title and dodge this one .

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


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


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

... 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 .


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


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

little more than a well-mounted history lesson .


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


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


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 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 .

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


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

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 .


a compelling yarn , but not quite a ripping one .


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 .


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


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

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


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


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


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

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


nothing happens , and it happens to flat characters .


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

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


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 .


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

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


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


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 .


woody allen has really found his groove these days .

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


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

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- .


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 .


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

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


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


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 .

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


nothing happens , and it happens to flat characters .

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


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


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

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


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


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 .

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 ?


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


a film of delicate interpersonal dances .

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


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


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

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


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


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

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


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


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


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 .


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

but there 's plenty to offend everyone ...


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


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


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


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

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


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


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 .

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


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


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


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


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 .

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


a loud , brash and mainly unfunny high school comedy .


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

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


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 .


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


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


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


a compelling yarn , but not quite a ripping one .

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 .


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 .


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

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


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


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

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 .


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


there 's nothing to gain from watching they .

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 .


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


imagine susan sontag falling in love with howard stern .


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


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 .


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 .


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


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 .


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


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

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


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


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

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


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

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 .


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


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

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 .


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 ?


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


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

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 .


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

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 .


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 .


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

the story is bogus and its characters tissue-thin .


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 . '

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


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

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 .


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


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


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

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


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


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

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


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


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

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


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

a compelling yarn , but not quite a ripping one .


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 .


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

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


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


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 .


make like the title and dodge this one .


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


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- .


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

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


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


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 .

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


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

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


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


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

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


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 .


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

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 .


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

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 .


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

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


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

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


a loud , brash and mainly unfunny high school comedy .

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


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


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


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


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

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


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

... 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 .


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

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


the story is bogus and its characters tissue-thin .


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 .


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


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


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


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

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


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 .

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


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 .


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

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


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


an inexperienced director , mehta has much to learn .

enough is not a bad movie , just mediocre .


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 .


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

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


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


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 .

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


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 .


at times , the movie looks genuinely pretty .

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


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


enough is not a bad movie , just mediocre .

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


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


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 . '

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


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


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

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


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


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 .


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


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

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


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


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

an inexperienced director , mehta has much to learn .


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


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 .


woody allen has really found his groove these days .


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


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

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


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

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 .


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


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


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 .

a compelling yarn , but not quite a ripping one .


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


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

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


as a film director , labute continues to improve .


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- .


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


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


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


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

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 .


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

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


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 .

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 .


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


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

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


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


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

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


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


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


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 .


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


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


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


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

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


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


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


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


little more than a well-mounted history lesson .

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


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


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

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 ...


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


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


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

hollywood ending is the most disappointing woody allen movie ever .


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

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


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 .


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

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


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


and they succeed merrily at their noble endeavor .


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

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


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


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

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


never inspires more than an interested detachment .


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 .

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


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 .


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

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


as a film director , labute continues to improve .

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


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


its initial excitement settles into a warmed over pastiche .

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 .


a harrowing account of a psychological breakdown .


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


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


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

a film of delicate interpersonal dances .


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

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


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


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

impostor is a step down for director gary fleder .


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


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

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


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


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


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 .


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


its initial excitement settles into a warmed over pastiche .


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


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

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 .


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 ...


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 .


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


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

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


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


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


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


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


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


this comic gem is as delightful as it is derivative .

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


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


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

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


undoubtedly the scariest movie ever made about tattoos .

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 .


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


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

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


nothing happens , and it happens to flat characters .


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


and they succeed merrily at their noble endeavor .


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

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 .


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- .


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 .

the country bears wastes an exceptionally good idea .


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


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


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


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 .

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


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 .


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


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


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

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


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 ...

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


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 .

these people are really going to love the piano teacher .


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


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


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


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

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


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


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


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


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 .

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


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


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


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

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

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


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