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


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 .

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


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

your children will be occupied for 72 minutes .


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


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


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


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

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


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


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

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


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 .


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


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


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


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

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


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


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


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 .

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


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


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


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


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


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

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


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 .


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

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


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 .


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

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


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 .


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

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


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


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

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


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


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

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


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 .


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


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


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


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

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


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


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


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


little more than a well-mounted history lesson .


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


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

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


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


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


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


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


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


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

-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 .


enough is not a bad movie , just mediocre .


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


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

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


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


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 .


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 .


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

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


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


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

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


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 .


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

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


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


as a film director , labute continues to improve .

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


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


its initial excitement settles into a warmed over pastiche .

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


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 .


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

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 .


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


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

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


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


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


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 .


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

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 .


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


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

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


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


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

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


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


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 .

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


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


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

... 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 .


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


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


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


make like the title and dodge this one .


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 .

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


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

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


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


a loud , brash and mainly unfunny high school comedy .


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


this comic gem is as delightful as it is derivative .

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


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

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


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


undoubtedly the scariest movie ever made about tattoos .

it 's never dull and always looks good .


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


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

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


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


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

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


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

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


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


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- .

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 .


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 .

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


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


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

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 .


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


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 .

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


this comic gem is as delightful as it is derivative .


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

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


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


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

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


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


but there 's plenty to offend everyone ...

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


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


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


it 's never dull and always looks good .


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

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 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 .


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


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

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


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


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

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


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

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


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


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

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


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 .


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 .


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

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 .


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

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


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


these people are really going to love the piano teacher .

woody allen has really found his groove these days .


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


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

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


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 . '


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


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


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 .


little more than a well-mounted history lesson .


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


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

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


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

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


but there 's plenty to offend everyone ...


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 .

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


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


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

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 .


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


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 .

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


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 .


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


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

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


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


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


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


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

a loud , brash and mainly unfunny high school comedy .


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


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


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


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 .


this comic gem is as delightful as it is derivative .


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


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


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

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


-lrb- 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 .


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

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


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


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

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


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 .


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 .


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


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

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


never inspires more than an interested detachment .


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 .

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


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


the country bears wastes an exceptionally good idea .

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


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 .


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


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


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

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


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


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


its initial excitement settles into a warmed over pastiche .


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 .

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 .


woody allen has really found his groove these days .


never inspires more than an interested detachment .

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


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


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


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


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

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 .


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


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

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


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


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


make like the title and dodge this one .


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

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 ?


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 .


the story is bogus and its characters tissue-thin .

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


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

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 .


a film of delicate interpersonal dances .


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


... 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 .

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


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


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


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


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

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


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

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


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


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

its initial excitement settles into a warmed over pastiche .


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


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

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


and they succeed merrily at their noble endeavor .


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


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

your children will be occupied for 72 minutes .


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


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


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 .

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


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


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


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

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


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


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


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

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


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


it 's never dull and always looks good .

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


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


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

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


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


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

make like the title and dodge this one .


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 .


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

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


a compelling yarn , but not quite a ripping one .


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 .


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


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

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


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 .


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


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 .


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

a film of delicate interpersonal dances .


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


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 .

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


undoubtedly the scariest movie ever made about tattoos .


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

it 's never dull and always looks good .


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 .


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


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


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

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


make like the title and dodge this one .


-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 .

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


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


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

your children will be occupied for 72 minutes .


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


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

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


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 .


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

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 .


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

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


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


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


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


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 .

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


the country bears wastes an exceptionally good idea .


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 .

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


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


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

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


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


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

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


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


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

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


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


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

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


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


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


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


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


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

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


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


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


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 .


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 .

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


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

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 ...


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 .


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 .

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


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


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

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


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


impostor is a step down for director gary fleder .

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


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 .

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


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


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 ?

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


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


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

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


it 's never dull and always looks good .


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

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


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


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


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


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


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

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


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


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


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


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 .


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

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


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


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

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


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


your children will be occupied for 72 minutes .

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


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


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 .

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


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


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


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


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 .

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


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

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


but there 's plenty to offend everyone ...


a harrowing account of a psychological breakdown .

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


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 .


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 .

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


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 .


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

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


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


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

nothing happens , and it happens to flat characters .


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


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


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


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


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 .


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

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


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


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


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

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


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


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 .

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


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


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

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


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 .


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

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 .


and they succeed merrily at their noble endeavor .


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 .

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


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


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


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


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

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


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

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


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


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

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


the story is bogus and its characters tissue-thin .


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

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


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


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

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


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 .


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


a 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 .


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


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


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

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


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


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

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


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


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

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 .


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


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


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


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


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


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 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 country bears wastes an exceptionally good idea .


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

a film of delicate interpersonal dances .


never inspires more than an interested detachment .


hollywood ending is the most disappointing woody allen movie ever .

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 . '


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


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


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

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


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


and they succeed merrily at their noble endeavor .


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 .


make like the title and dodge this one .

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


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


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

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


a loud , brash and mainly unfunny high school comedy .


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

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


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


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 .

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


this comic gem is as delightful as it is derivative .


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

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 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 .

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 .


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

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


a film of delicate interpersonal dances .


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

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


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


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

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


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


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


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 .


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


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

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


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


woody allen has really found his groove these days .


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 .


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


a compelling yarn , but not quite a ripping one .


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

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


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 .


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


nothing happens , and it happens to flat characters .

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


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


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


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


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 .

an inexperienced director , mehta has much to learn .


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


a film of delicate interpersonal dances .

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


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


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

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


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


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

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


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


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


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

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


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


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


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

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 .


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


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 .

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


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


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 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 .


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


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

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


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 .


a compelling yarn , but not quite a ripping one .


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


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

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


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


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


there 's nothing to gain from watching they .

the country bears wastes an exceptionally good idea .


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


imagine susan sontag falling in love with howard stern .

impostor is a step down for director gary fleder .


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


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 .


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 .


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


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


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


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

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


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


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


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 .


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

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


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 a film director , labute continues to improve .


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


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


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


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

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


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


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


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 . '

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


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

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 .


... 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 .


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


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 .


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


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 .


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

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


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


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

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


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


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

undoubtedly the scariest movie ever made about tattoos .


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


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

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


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 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 .


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


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

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 .


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 .


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


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


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


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 .

a compelling yarn , but not quite a ripping one .


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

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


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


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


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


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


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

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


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


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


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

a film of delicate interpersonal dances .


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 loud , brash and mainly unfunny high school comedy .

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


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 .


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


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

this comic gem is as delightful as it is derivative .


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


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

and they succeed merrily at their noble endeavor .


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 .


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

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


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 .


but there 's plenty to offend everyone ...


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

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


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 . '


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

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


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


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

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


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


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


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


an inexperienced director , mehta has much to learn .

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


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


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


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


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 .

enough is not a bad movie , just mediocre .


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 .


at times , the movie looks genuinely pretty .

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


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


enough is not a bad movie , just mediocre .

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 .


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

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


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


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


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 .

a harrowing account of a psychological breakdown .


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

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


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

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


hollywood ending is the most disappointing woody allen movie ever .


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


a compelling yarn , but not quite a ripping one .


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

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


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


this comic gem is as delightful as it is derivative .


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


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

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


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


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

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


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 .

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


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

it 's 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 .


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

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


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


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


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


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

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 .


the story is bogus and its characters tissue-thin .


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

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


your children will be occupied for 72 minutes .


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

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


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


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

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


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


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

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


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


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


never inspires more than an interested detachment .


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


this comic gem is as delightful as it is derivative .


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


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


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


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

the country bears wastes an exceptionally good idea .


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


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


little more than a well-mounted history lesson .

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


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 . '


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

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


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


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


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

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


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


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

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


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 .


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

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 .


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


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


it 's never dull and always looks good .


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

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


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


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

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


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


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

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


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


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

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


as a film director , labute continues to improve .


its initial excitement settles into a warmed over pastiche .

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 .


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


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


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


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

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


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


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


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


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

a loud , brash and mainly unfunny high school comedy .


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


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

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


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


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

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


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


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 .

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


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 .


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


make like the title and dodge this one .


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 .


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


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

these people are really going to love the piano teacher .


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


the 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 .

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 .


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


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

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


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


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

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


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


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


this comic gem is as delightful as it is derivative .

it 's never dull and always looks good .


hollywood ending is the most disappointing woody allen movie ever .


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

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


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


undoubtedly the scariest movie ever made about tattoos .

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


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


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


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

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


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


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

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


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- .

its initial excitement settles into a warmed over pastiche .


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


the 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 .

make like the title and dodge this one .


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


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

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


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 .


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


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

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


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


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

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


but there 's plenty to offend everyone ...

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


and they succeed merrily at their noble endeavor .


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


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 ...


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


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


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

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


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 .


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

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


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 .