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

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


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


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 .

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


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


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

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


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


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


a compelling yarn , but not quite a ripping one .

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


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


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

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


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


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

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


there 's nothing to gain from watching they .


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


imagine susan sontag falling in love with howard stern .

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


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


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


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


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 .

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


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


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


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


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


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


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 .


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

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


a compelling yarn , but not quite a ripping one .


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

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


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 .


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


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


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

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 .


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


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

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


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


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

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


-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 .


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 . '

nothing happens , and it happens to flat characters .


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


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

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


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


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


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


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

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


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

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


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

this comic gem is as delightful as it is derivative .


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


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

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


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

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


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 .


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 .


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


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


little more than a well-mounted history lesson .


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 .


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 .


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

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


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


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


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


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

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


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


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

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


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


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

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


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


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

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


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 .


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

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


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


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


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


a loud , brash and mainly unfunny high school comedy .

its initial excitement settles into a warmed over pastiche .


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 .


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

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


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


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

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 .


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


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

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


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 .

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


an inexperienced director , mehta has much to learn .


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

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


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


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


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


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

a film of delicate interpersonal dances .


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


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

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 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 .


an inexperienced director , mehta has much to learn .

make like the title and dodge this one .


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

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


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


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 .

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


at times , the movie looks genuinely pretty .


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


enough is not a bad movie , just mediocre .


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


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 . '


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

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


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


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 .


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


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


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


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


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


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

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


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


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

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


this comic gem is as delightful as it is derivative .


nothing happens , and it happens to flat characters .


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

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


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


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

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 .


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 .

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


an inexperienced director , mehta has much to learn .


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 .

undoubtedly the scariest movie ever made about tattoos .


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


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

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


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 .


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


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

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 .


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


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

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


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


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

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


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


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


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


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

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


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


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

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 .


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 .


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


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


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


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


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

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


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


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


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 .


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


little more than a well-mounted history lesson .

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 .


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


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

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


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


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


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

hollywood ending is the most disappointing woody allen movie ever .


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


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

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


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

your children will be occupied for 72 minutes .


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


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

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 .


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


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

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


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


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

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


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 .

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


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 .


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

but there 's plenty to offend everyone ...


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


as a film director , labute continues to improve .

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


the story is bogus and its characters tissue-thin .


its initial excitement settles into a warmed over pastiche .


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


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

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


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


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


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

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


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


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

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


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


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


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


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

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


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 .


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 .


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 .


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

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


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


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


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


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


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


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


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

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


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


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

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


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


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


this comic gem is as delightful as it is derivative .

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 .


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

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


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


undoubtedly the scariest movie ever made about tattoos .


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


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

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


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

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


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

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 .


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


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- .

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


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


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 .

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


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


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

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


a harrowing account of a psychological breakdown .


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

hollywood ending is the most disappointing woody allen movie ever .


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 .


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

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


but there 's plenty to offend everyone ...

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


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 .

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


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


make like the title and dodge this one .


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


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

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


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


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

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 .


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


the country bears wastes an exceptionally good idea .


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


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


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


at times , the movie looks genuinely pretty .


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

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


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


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 .

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


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 .


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


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 .


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


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

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


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

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


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


these people are really going to love the piano teacher .

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


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


these people are really going to love the piano teacher .


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


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


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 .


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

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


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


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

the country bears wastes an exceptionally good idea .


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


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

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


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


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 .

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


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


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

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


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 .

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


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


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 .

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


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

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


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


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


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

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


a compelling yarn , but not quite a ripping one .


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

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


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


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


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 .


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


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

make like the title and dodge this one .


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


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

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


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


at times , the movie looks genuinely pretty .


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

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


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


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 .

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 .


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


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

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


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


the country bears wastes an exceptionally good idea .

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


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


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 ...

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


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


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


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


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

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


as a film director , labute continues to improve .


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

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


never inspires more than an interested detachment .


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 .

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


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


never inspires more than an interested detachment .

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- .


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


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 .


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


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 .


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


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


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

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


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

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 .


an inexperienced director , mehta has much to learn .


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

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


the story is bogus and its characters tissue-thin .

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


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


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

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


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


... 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 .


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


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


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


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

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


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


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


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

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


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


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

there 's nothing to gain from watching they .


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


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

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


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


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


... 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 .

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


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 .

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


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


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


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

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


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


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 .

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


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

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


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


it 's never dull and always looks good .

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


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 .


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


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


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


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

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


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 .


... 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 .


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

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


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 .


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

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


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 .


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

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


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


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

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


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 . '


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 .

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 .


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 .


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

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


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

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


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

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 .


-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 .

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


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


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

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


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

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


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


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

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


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

and they succeed merrily at their noble endeavor .


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


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

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


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 .

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 .


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 .

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


hollywood ending is the most disappointing woody allen movie ever .


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

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


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


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

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


it 's never dull and always looks good .


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


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


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

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


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


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


-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 .


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


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


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

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


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


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


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 .

little more than a well-mounted history lesson .


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


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

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


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


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


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 .


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 .


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


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


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


impostor is a step down for director gary fleder .

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 film of delicate interpersonal dances .


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


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


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


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 ?

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 .


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


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

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


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

imagine susan sontag falling in love with howard stern .


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


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


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 .

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


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 .


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


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

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


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


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

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


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 .


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

a harrowing account of a psychological breakdown .


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 .


your children will be occupied for 72 minutes .

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


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 .

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


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


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 .


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


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 .

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 .


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


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

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 .


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


a harrowing account of a psychological breakdown .


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


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 .

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


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


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


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

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 .


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


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

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


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

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 .


these people are really going to love the piano teacher .


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

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


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


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


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

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


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


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 .


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


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

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


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

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


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


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 .

and they succeed merrily at their noble endeavor .


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


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


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


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


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

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


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


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

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


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


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 .


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


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

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 .


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


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


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

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


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

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 .


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


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

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


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


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

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


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


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


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


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


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


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

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


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


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

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


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


hollywood ending is the most disappointing woody allen movie ever .


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


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


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

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


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


and they succeed merrily at their noble endeavor .

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


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 .


make like the title and dodge this one .


your children will be occupied for 72 minutes .


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

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


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


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

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


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


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


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


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 .

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


at times , the movie looks genuinely pretty .


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

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 .


a film of delicate interpersonal dances .


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 .

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


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

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


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


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 .

there 's nothing to gain from watching they .


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

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 .


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


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

its initial excitement settles into a warmed over pastiche .


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 .


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 .


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


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


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 .


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

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


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


woody allen has really found his groove these days .

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 .


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

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 .


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


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

the story is bogus and its characters tissue-thin .


a film of delicate interpersonal dances .


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

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


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


nothing happens , and it happens to flat characters .


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

and they succeed merrily at their noble endeavor .


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 .

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


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


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


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

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


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


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

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 .


an inexperienced director , mehta has much to learn .


a loud , brash and mainly unfunny high school comedy .


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

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


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


it 's never dull and always looks good .


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

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


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


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


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


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

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


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


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 .

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


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

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


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


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


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


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


a compelling yarn , but not quite a ripping one .

this comic gem is as delightful as it is derivative .


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 .


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


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


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

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


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 .


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 .


imagine susan sontag falling in love with howard stern .


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


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


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


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 .

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 .


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


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


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


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


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


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

make like the title and dodge this one .


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


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


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


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


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

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


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 .


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


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

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


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 . '

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


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 .


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

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 .


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


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


a compelling yarn , but not quite a ripping one .


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


-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 .

an inexperienced director , mehta has much to learn .


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


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 .


impostor is a step down for director gary fleder .


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

it 's never dull and always looks good .


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


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

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


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


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 .

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


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


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

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 .


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


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


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


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


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 .

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


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


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


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


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

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


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


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


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


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

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


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


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

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


a loud , brash and mainly unfunny high school comedy .

impostor is a step down for director gary fleder .


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 .


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


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

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


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

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


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


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


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 .

it 's never dull and always looks good .


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


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

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


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


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

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


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


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

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 .


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


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

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


an inexperienced director , mehta has much to learn .

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


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 adventures of pluto nash is a whole lot of nada .

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


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


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 .


at times , the movie looks genuinely pretty .


enough is not a bad movie , just mediocre .

little more than a well-mounted history lesson .


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 . '


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

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 . '


there 's nothing to gain from watching they .


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 .

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


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


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

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


the 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 .


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

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


imagine susan sontag falling in love with howard stern .


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

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


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


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


this comic gem is as delightful as it is derivative .


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


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 .


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

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


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


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

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


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


it '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 .

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


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 ...


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 .

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