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

hollywood ending is the most disappointing woody allen movie ever .


your children will be occupied for 72 minutes .


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


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 .


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 .

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


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 .


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

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


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

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


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

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


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


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 .

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


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 .


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


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


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

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


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


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

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


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


-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 .

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


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


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

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


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

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 .


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

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


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


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

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


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


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

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


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 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 .


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


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

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


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


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

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


it 's never dull and always looks good .


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

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


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

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


hollywood ending is the most disappointing woody allen movie ever .


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


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


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


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

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


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 .


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


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


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


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

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


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


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .

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


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

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


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


impostor is a step down for director gary fleder .


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


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

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


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


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 ?

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 .


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 .


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


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


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

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


woody allen has really found his groove these days .


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


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


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


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


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

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


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


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 .


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


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

the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .


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


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

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


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

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


its initial excitement settles into a warmed over pastiche .


your children will be occupied for 72 minutes .

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


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


the 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 .

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


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


these people are really going to love the piano teacher .


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


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

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


this comic gem is as delightful as it is derivative .


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

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


a harrowing account of a psychological breakdown .

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


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


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 .

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


a harrowing account of a psychological breakdown .


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

as a film director , labute continues to improve .


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


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

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


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


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

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


there 's nothing to gain from watching they .


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

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


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


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

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


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


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

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 .


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


and they succeed merrily at their noble endeavor .


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 .

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 .


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


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

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


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


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

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


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


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

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


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


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

this comic gem is as delightful as it is derivative .


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


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

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


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


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


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

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


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


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 .

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


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


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


as a film director , labute continues to improve .


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 .

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


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

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


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


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

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


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


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

undoubtedly the scariest movie ever made about tattoos .


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


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

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


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


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 .


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


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


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


hollywood ending is the most disappointing woody allen movie ever .

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


it 's never dull and always looks good .


make like the title and dodge this one .


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


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

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


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 .


and they succeed merrily at their noble endeavor .


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


make like the title and dodge this 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 .


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


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

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


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


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

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


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


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


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


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

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


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


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

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


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


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

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


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


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

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


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


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 .

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


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


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

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


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


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

little more than a well-mounted history lesson .


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 .


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


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

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


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


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

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


a film of delicate interpersonal dances .


woody allen has really found his groove these days .

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


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- .


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


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

a loud , brash and mainly unfunny high school comedy .


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 .

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


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


nothing happens , and it happens to flat characters .

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


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

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


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


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 .

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 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 .


a film of delicate interpersonal dances .

this comic gem is as delightful as it is derivative .


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


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

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 .


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 .


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

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


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


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


a harrowing account of a psychological breakdown .


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


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 .


-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 .


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


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


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 .

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


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


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


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


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


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


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


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


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


a compelling yarn , but not quite a ripping one .

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 .


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

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 .


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


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


there 's nothing to gain from watching they .


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


imagine susan sontag falling in love with howard stern .

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


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


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 .


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 .

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


at times , the movie looks genuinely pretty .


a loud , brash and mainly unfunny high school comedy .


these people are really going to love the piano teacher .


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

little more than a well-mounted history lesson .


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


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


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


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

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


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


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

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


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 .


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

the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .


this 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 .


hollywood ending is the most disappointing woody allen movie ever .


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

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


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 . '


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

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


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


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


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


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

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


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 .


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


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


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 .


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


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


imagine susan sontag falling in love with howard stern .


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

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 .


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

a harrowing account of a psychological breakdown .


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


impostor is a step down for director gary fleder .


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


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


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

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


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 .

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


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


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

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


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

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


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


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

this comic gem is as delightful as it is derivative .


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


undoubtedly the scariest movie ever made about tattoos .


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

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


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


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 .


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


a loud , brash and mainly unfunny high school comedy .


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


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 .


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


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


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


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

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


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


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


imagine susan sontag falling in love with howard stern .


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

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


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

a loud , brash and mainly unfunny high school comedy .


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


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


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


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

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


an inexperienced director , mehta has much to learn .


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

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


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


an inexperienced director , mehta has much to learn .

its initial excitement settles into a warmed over pastiche .


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


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


woody allen has really found his groove these days .


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 .

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 .


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


at times , the movie looks genuinely pretty .

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


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


enough is not a bad movie , just mediocre .

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


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


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


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


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

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


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


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


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


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

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


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 .


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

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


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


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

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


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

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


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


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


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

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 .


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


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

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


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


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 .

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


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


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 .

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


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 .


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

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


there 's nothing to gain from watching they .


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 .


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

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


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


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

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


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

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


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


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

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


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 .


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

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


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


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

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 . '


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


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


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


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

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


it 's never dull and always looks good .


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


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


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


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


little more than a well-mounted history lesson .

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 .


-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 .


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

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


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


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


and they succeed merrily at their noble endeavor .


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 .


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


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

woody allen has really found his groove these days .


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 .


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

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


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


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


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

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


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


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 .

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 .


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


at times , the movie looks genuinely pretty .


as a film director , labute continues to improve .


but there 's plenty to offend everyone ...


its initial excitement settles into a warmed over pastiche .

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


it 's never dull and always looks good .


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


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


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

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

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


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

the story is bogus and its characters tissue-thin .


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 .


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

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


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


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

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


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 .

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 comic gem is as delightful as it is derivative .


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

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


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


its initial excitement settles into a warmed over pastiche .


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


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .

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


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


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

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 ...


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


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

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


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


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 .


this comic gem is as delightful as it is derivative .

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


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

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


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


undoubtedly the scariest movie ever made about tattoos .

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


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


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

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


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


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

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


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


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

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


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


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


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


the 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 .

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


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


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

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


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


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 .

impostor is a step down for director gary fleder .


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


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

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


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


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

a film of delicate interpersonal dances .


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


but there 's plenty to offend everyone ...

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


a compelling yarn , but not quite a ripping one .


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 .

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


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


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


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


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


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


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

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 .


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


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 .

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


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


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


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


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

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


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


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


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 .

its initial excitement settles into a warmed over pastiche .


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


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


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


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

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


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


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


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


these people are really going to love the piano teacher .

... 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 .


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


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

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


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 .


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

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


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


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


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


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 .


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

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


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


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


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 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 .


little more than a well-mounted history lesson .


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

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


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


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 .


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


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


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

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


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 .


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

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


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


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

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


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


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


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


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


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

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


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

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


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 .


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

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 .


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


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

its initial excitement settles into a warmed over pastiche .


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 .

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


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


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

at times , the movie looks genuinely pretty .


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 .

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


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


the country bears wastes an exceptionally good idea .

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


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

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


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 only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .


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


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

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


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


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

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


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


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 .

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


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


never inspires more than an interested detachment .

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


it 's never dull and always looks good .


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


a compelling yarn , but not quite a ripping one .


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


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


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

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


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


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

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


the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .


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

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


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


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


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


the story is bogus and its characters tissue-thin .

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


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

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 .


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


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


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


... 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 .

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


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


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


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 .


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

this comic gem is as delightful as it is derivative .


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


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


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


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

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 .


-lrb- rises -rrb- above its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism .


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

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


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 .


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


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


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

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


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

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


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 .


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


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


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

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 .


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


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 .

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


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

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


it 's never dull and always looks good .

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


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


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


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


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

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


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


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


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 .

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 .


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


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

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


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


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

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


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


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


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


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

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


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 .


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

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


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

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


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


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

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


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


-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 .

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


the story is bogus and its characters tissue-thin .


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

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


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


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

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


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


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

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


there 's nothing to gain from watching they .


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

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


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 .


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

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


an inexperienced director , mehta has much to learn .


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 .

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


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


the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .

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


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

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


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

the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .


your children will be occupied for 72 minutes .


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

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


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


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

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


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


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


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

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


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

as a film director , labute continues to improve .


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


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


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 .

there 's nothing to gain from watching they .


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


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

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


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


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


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


on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .

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


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


little more than a well-mounted history lesson .


impostor is a step down for director gary fleder .

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


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


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

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


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


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

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


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


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 ?

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


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


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


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


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

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


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


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 .


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


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


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


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


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 .


but there 's plenty to offend everyone ...


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


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

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


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 .


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

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


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

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


your children will be occupied for 72 minutes .

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


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 . '


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 .

never inspires more than an interested detachment .


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


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 .


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 .


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 .

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


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

at times , the movie looks genuinely pretty .


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


a harrowing account of a psychological breakdown .

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


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 .

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


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

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 .


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


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

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


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

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


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

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


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


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

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


it 's never dull and always looks good .


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


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


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

little more than a well-mounted history lesson .


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


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 .

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