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

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


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


there 's nothing to gain from watching they .

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 .


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


imagine susan sontag falling in love with howard stern .

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


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


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


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 .


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


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 .


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

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


and they succeed merrily at their noble endeavor .


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

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


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


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

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


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


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


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


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


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


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

undoubtedly the scariest movie ever made about tattoos .


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


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

-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 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 .


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

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


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 . '

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 .


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 .


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

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


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


its initial excitement settles into a warmed over pastiche .


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


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

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


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


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


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


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

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


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


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

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


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

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


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


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


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

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


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 .


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


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

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


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


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 .


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

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

the country bears wastes an exceptionally good idea .


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 .


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

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


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

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


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

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


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

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


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 .


a loud , brash and mainly unfunny high school comedy .


undoubtedly the scariest movie ever made about tattoos .


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


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

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


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


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

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


there 's nothing to gain from watching they .


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

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


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

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


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


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

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 .


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


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

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


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

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


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


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

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


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


an inexperienced director , mehta has much to learn .

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


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 adventures of pluto nash is a whole lot of nada .

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


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


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 .

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


at times , the movie looks genuinely pretty .

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


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


enough is not a bad movie , just mediocre .


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


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 . '

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


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

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


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 .


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 .

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 .


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


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


the country bears wastes an exceptionally good idea .


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

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


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


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

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


and they succeed merrily at their noble endeavor .


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

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


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


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


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

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- .


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


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


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


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 .

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


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


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


the 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 .


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


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


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 .


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

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


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


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


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

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


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


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

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


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


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


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


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


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


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

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


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


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


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


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


little more than a well-mounted history lesson .

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


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

imagine susan sontag falling in love with howard stern .


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


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


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

hollywood ending is the most disappointing woody allen movie ever .


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


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

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


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


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

your children will be occupied for 72 minutes .


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

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 .


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


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

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


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

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


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


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

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


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


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


as a film director , labute continues to improve .

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


its initial excitement settles into a warmed over pastiche .

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 .


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


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


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


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

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


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


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

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


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


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

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


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


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

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 .


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


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

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


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


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

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 .


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 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 .

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


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

its initial excitement settles into a warmed over pastiche .


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


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

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


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


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


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


this comic gem is as delightful as it is derivative .

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 .


nothing happens , and it happens to flat characters .


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

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 .


these people are really going to love the piano teacher .


undoubtedly the scariest movie ever made about tattoos .


the country bears wastes an exceptionally good idea .


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

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 .


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


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

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


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


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


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- .


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


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

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


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 .


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

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 .


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


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 .

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


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


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

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


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


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


but there 's plenty to offend everyone ...

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


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 .


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 ...


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


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


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

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


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 .


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 .

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


its initial excitement settles into a warmed over pastiche .


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


little more than a well-mounted history lesson .


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

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


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


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

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


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 .

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


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


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 .


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


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

enough is not a bad movie , just mediocre .


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 .

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


hollywood ending is the most disappointing woody allen movie ever .


these people are really going to love the piano teacher .

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


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


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

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


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 .


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


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

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 .


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


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

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


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


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


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


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

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 compelling yarn , but not quite a ripping one .


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 .

nothing happens , and it happens to flat characters .


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 .


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 .

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


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


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 .


your children will be occupied for 72 minutes .


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


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


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

this comic gem is as delightful as it is derivative .


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


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

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 .


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


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


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 .


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

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


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


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

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


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


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

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


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


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

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


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 .

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


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


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


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

if you 're 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


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


the country bears wastes an exceptionally good idea .


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


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 ...

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


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 .


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


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

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


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


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


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


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 .

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


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


never inspires more than an interested detachment .

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


your children will be occupied for 72 minutes .


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


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 .


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 .


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

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 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 .


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


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


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

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 .


but there 's plenty to offend everyone ...


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

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


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


the story is bogus and its characters tissue-thin .

a loud , brash and mainly unfunny high school comedy .


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


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

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


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 .


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


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


... 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 .

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


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


it 's never dull and always looks good .


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


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

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 .


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


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

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


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

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


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


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 .


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

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


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


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

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


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 .


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

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


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


a harrowing account of a psychological breakdown .


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

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


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


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 .

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 .


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

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


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


it 's never dull and always looks good .

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


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


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


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


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

little more than a well-mounted history lesson .


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


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 .


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


hollywood ending is the most disappointing woody allen movie ever .


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 .


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


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


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


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


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

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


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


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

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


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


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

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


it 's never dull and always looks good .


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

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

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


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


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


-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 .


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

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


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


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

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


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


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


little more than a well-mounted history lesson .


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


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


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


imagine susan sontag falling in love with howard stern .


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


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 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 .

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


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 .


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

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


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

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


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


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

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


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 .


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


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


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

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


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


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


never inspires more than an interested detachment .


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


there 's nothing to gain from watching they .


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 .

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


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


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

impostor is a step down for director gary fleder .


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


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


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


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


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


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


impostor is a step down for director gary fleder .

enough is not a bad movie , just mediocre .


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

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


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 .


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

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 .


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 ?

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


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


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


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


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


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 .


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


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 .


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

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


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


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 .


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

your children will be occupied for 72 minutes .


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


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


these people are really going to love the piano teacher .


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

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


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


your children will be occupied for 72 minutes .

undoubtedly the scariest movie ever made about tattoos .


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


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 .

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


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


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


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


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 .

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


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


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

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


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


a harrowing account of a psychological breakdown .

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


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


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 .

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


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


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

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


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


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

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


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

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


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 .


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


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


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

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


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 .


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

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 .


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

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


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


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

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


hollywood ending is the most disappointing woody allen movie ever .


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

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


the story is bogus and its characters tissue-thin .


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

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


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 .

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


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


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

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


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


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

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 .


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

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 .


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


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

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


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


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


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


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


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

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


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


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

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


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


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


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


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

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


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


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


a loud , brash and mainly unfunny high school comedy .


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

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 .


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


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


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


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


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


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

it 's never dull and always looks good .


hollywood ending is the most disappointing woody allen movie ever .

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- .


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


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


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

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


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


and they succeed merrily at their noble endeavor .

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


the country bears wastes an exceptionally good idea .


make like the title and dodge this one .

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


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


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


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

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


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


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


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


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 .

imagine susan sontag falling in love with howard stern .


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


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

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 .


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


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


while 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 .

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


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 .


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 .

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


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


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

and they succeed merrily at their noble endeavor .


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

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


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


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


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


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

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


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


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

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


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


woody allen has really found his groove these days .

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


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


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

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


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


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

never inspires more than an interested detachment .


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


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 .

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


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


nothing happens , and it happens to flat characters .

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


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


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

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


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


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 .

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


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


a film of delicate interpersonal dances .

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 .


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

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


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 .


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 .


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


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


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


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

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


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 .


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


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


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

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 .


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


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


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


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

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 ?


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


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


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


the 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 .


a compelling yarn , but not quite a ripping one .


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


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

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 .


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


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


there 's nothing to gain from watching they .

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


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


imagine susan sontag falling in love with howard stern .

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


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


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 .

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 a wonderful , sobering , heart-felt drama .


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


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


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

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 .


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


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

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 .


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

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


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 . '


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


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


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


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


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


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

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


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


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

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


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


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 . '

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


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


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


there 's nothing to gain from watching they .


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


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

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 .


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


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

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


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


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

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


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


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


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


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

it 's never dull and always looks good .


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


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

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


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


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


a loud , brash and mainly unfunny high school comedy .


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 .


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

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 .


its initial excitement settles into a warmed over pastiche .


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

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


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


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


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

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 .


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


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

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


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


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

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


and they succeed merrily at their noble endeavor .


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

enough is not a bad movie , just mediocre .


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


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

this comic gem is as delightful as it is derivative .


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


a loud , brash and mainly unfunny high school comedy .

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


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


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


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


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

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 .


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 .


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

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 .


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


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

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 .


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


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

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 .


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 .


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

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


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


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


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


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


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


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


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


an inexperienced director , mehta has much to learn .

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 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 adventures of pluto nash is a whole lot of nada .

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


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

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


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 .


at times , the movie looks genuinely pretty .

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 .


enough is not a bad movie , just mediocre .

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


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


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

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


enough is not a bad movie , just mediocre .


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


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


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 .

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


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

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


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 .


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

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


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


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

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


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


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


little more than a well-mounted history lesson .


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

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


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


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

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


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