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

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 hypnotic cyber hymn and a cruel story of youth culture .


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


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


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

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


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

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


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


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

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


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


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

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


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


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


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


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

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


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


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


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


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


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


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

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 .


little more than a well-mounted history lesson .


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


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


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


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

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


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


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

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


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


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

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 .


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


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

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


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

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


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


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

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


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


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 .

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


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


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


as a film director , labute continues to improve .

this comic gem is as delightful as it is derivative .


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


its initial excitement settles into a warmed over pastiche .


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


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

and they succeed merrily at their noble endeavor .


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


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


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 .


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

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


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

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


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


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


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

the 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 .


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


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

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


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


little more than a well-mounted history lesson .


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

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


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


the 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 .


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 .


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

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


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


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

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


this comic gem is as delightful as it is derivative .

-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 .


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


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

the country bears wastes an exceptionally good idea .


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


undoubtedly the scariest movie ever made about tattoos .

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


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


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

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


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

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


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

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


imagine susan sontag falling in love with howard stern .


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- .

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


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


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

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


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


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

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 .


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 .

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


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

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


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


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

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


but there 's plenty to offend everyone ...

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


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

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


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


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


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 .


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

there 's nothing to gain from watching they .


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 .


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

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


woody allen has really found his groove these days .


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


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


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


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


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

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


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

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


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 .


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


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


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


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


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


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

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


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


these people are really going to love the piano teacher .

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


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


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

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


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

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


... 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 .


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


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

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


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

its initial excitement settles into a warmed over pastiche .


woody allen has really found his groove these days .


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

as a film director , labute continues to improve .


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


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

these people are really going to love the piano teacher .


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


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

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


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


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 .

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 .


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


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 .


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

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


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


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


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

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


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


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

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 .


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


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

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


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


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

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


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

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


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


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

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


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


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 .

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 .


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


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 .

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


the country bears wastes an exceptionally good idea .


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


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 ...

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


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


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


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


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


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


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


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 .

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


never inspires more than an interested detachment .

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


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


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


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


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


your children will be occupied for 72 minutes .


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

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


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

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


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 .

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


there 's nothing to gain from watching they .


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


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


the story is bogus and its characters tissue-thin .

make like the title and dodge this one .


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

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


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 .


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


... 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 .

woody allen has really found his groove these days .


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 .


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 .


nothing happens , and it happens to flat characters .


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

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


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 .


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

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 .


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

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


-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 .


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

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


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


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

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


there 's nothing to gain from watching they .


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

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 .


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

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


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


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 .

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


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


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


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

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


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


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 .

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


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


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

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 never dull and always looks good .


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


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

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


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


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

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


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


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


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


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


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 .

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


undoubtedly the scariest movie ever made about tattoos .


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

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


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


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

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


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


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

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


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


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 .

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 .


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


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

little more than a well-mounted history lesson .


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


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

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


-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 .

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


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


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

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


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


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

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


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


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


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


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


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


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


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 .


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

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


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 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 .

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


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


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

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


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 .


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

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


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


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


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 hypnotic cyber hymn and a cruel story of youth culture .

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


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


hollywood ending is the most disappointing woody allen movie ever .


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

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


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


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

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 . '


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


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


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 .

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


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


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

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


and they succeed merrily at their noble endeavor .


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


a harrowing account of a psychological breakdown .


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 .


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


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

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


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 .


impostor is a step down for director gary fleder .


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


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

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


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

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


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 ?

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


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

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


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


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


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


your children will be occupied for 72 minutes .


little more than a well-mounted history lesson .


its initial excitement settles into a warmed over pastiche .


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


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

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


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


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


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


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

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


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


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


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


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


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 .


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


this comic gem is as delightful as it is derivative .


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


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 .

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


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

... 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 .


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


a harrowing account of a psychological breakdown .

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


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

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


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


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

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


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

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


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


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

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 .


imagine susan sontag falling in love with howard stern .


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

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


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

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


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


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

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


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


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

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


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 .

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


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


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


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 .


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

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 .


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 .

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 .


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 .


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


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


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

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


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


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

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


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


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

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 .


little more than a well-mounted history lesson .


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 .

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


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


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

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


... 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 .


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 .

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 .


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


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


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

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


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 .


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

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


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


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

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


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

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


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


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


a film of delicate interpersonal dances .


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

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


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


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

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


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


hollywood ending is the most disappointing woody allen movie ever .


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


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


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

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


undoubtedly the scariest movie ever made about tattoos .


and they succeed merrily at their noble endeavor .

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 .


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 .


make like the title and dodge this one .

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


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


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


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

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


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


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


enough is not a bad movie , just mediocre .


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 .


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

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


woody allen has really found his groove these days .


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


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


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

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 ...


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


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 .

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


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


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

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


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


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


at times , the movie looks genuinely pretty .


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 .


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


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


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 .


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


woody allen has really found his groove these days .

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


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


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

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


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


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

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


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


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

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


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


nothing happens , and it happens to flat characters .

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 .


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


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


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


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

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


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


a film of delicate interpersonal dances .

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 .


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


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

a loud , brash and mainly unfunny high school comedy .


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 .

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 .


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


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


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


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

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 .


it 's never dull and always looks good .


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


a compelling yarn , but not quite a ripping one .


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

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


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


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

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


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


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

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


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 .

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


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


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

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


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


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


a compelling yarn , but not quite a ripping one .

your children will be occupied for 72 minutes .


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 ...


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


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