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

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


if you 're 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


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 .


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


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

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


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

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


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


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

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 .


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


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

this comic gem is as delightful as it is derivative .


never inspires more than an interested detachment .


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


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

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


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 ?


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

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 .


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

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 .


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


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


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


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


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 .


too much of storytelling moves away from solondz 's social critique , casting its audience as that of intellectual lector in contemplation of the auteur 's professional injuries .


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


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


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

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


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


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

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


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


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


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


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


it 's never dull and always looks good .


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

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


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


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

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


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


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


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


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

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


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


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

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


a compelling yarn , but not quite a ripping one .


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


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


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

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 .


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


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

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


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


impostor is a step down for director gary fleder .

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


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

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


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

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


the story is bogus and its characters tissue-thin .


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 ?

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


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


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


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


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

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


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


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


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


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

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


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


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


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

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


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


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 .


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


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

a compelling yarn , but not quite a ripping one .


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


your children will be occupied for 72 minutes .


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


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


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


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


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 .

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


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


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

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


the story is bogus and its characters tissue-thin .


a harrowing account of a psychological breakdown .

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 . '


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


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 .

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


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

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


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


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

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


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

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 .


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 .


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

its initial excitement settles into a warmed over pastiche .


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


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


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

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


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


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

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


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 .

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 .


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


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

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


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 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 .


enough is not a bad movie , just mediocre .


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

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 .


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 .


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

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


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


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


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


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


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


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

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


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

nothing happens , and it happens to flat characters .


it 's never dull and always looks good .


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

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


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


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


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


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


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

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


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

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


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


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

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 .


little more than a well-mounted history lesson .


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


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

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


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 .

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


hollywood ending is the most disappointing woody allen movie ever .

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


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


the film 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 .


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


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


a compelling yarn , but not quite a ripping one .


and they succeed merrily at their noble endeavor .

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


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


make like the title and dodge this one .

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


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


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

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


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


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

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 .


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


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


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


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 .

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


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


undoubtedly the scariest movie ever made about tattoos .


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 .


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


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


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

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


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


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


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


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


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


enough is not a bad movie , just mediocre .


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


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


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

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 .


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


woody allen has really found his groove these days .


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

but there 's plenty to offend everyone ...


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


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


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


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

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


as a film director , labute continues to improve .


nothing happens , and it happens to flat characters .

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


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


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


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 .


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 .

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


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


a film of delicate interpersonal dances .

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


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


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

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


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

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


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 .


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


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


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


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


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


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


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

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


if you 're 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 .

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


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

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


your children will be occupied for 72 minutes .


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 .

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


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


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

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


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


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


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


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


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


a compelling yarn , but not quite a ripping one .

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


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


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


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


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

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


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


there 's nothing to gain from watching they .


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


imagine susan sontag falling in love with howard stern .

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


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


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


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


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 .

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


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


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


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

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


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


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

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


woody allen has really found his groove these days .


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

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


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


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

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 .


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


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


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


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

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


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


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 .


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

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


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


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 . '

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


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


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

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


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


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

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


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


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


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

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


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 .


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

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


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


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

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 .


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


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


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


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


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

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


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- .


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


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


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

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


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

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


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

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


hollywood ending is the most disappointing woody allen movie ever .


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


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


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

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 .


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


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


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


a loud , brash and mainly unfunny high school comedy .

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


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


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


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


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

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


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


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


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


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


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 .


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

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


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

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 .


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


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

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


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 .


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

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


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 .


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


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


an inexperienced director , mehta has much to learn .

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


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


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

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


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


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 .


-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 .


at times , the movie looks genuinely pretty .

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


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 .


enough is not a bad movie , just mediocre .


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

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


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


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


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


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 .

... 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 .


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

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


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

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 .


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

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 .


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


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

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


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


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 .

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


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


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

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 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 .


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 .

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


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


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

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 .


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

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


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


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


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

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


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

the story is bogus and its characters tissue-thin .


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

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


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


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

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


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


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

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 .


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

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


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


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 .


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


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


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 .


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

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 .


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 .


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


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


little more than a well-mounted history lesson .


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

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


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


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


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

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 .


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

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


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

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


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


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


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

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


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


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

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


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


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 .

the country bears wastes an exceptionally good idea .


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


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 .


as a film director , labute continues to improve .

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


its initial excitement settles into a warmed over pastiche .

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


it 's 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 .


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


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

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


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


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

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


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


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

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 .


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


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

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


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

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 .


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 's nothing to gain from watching they .


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


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

woody allen has really found his groove these days .


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


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


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


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

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


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


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


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

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


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


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

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


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


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


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 .


this comic gem is as delightful as it is derivative .

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


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


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

imagine susan sontag falling in love with howard stern .


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


undoubtedly the scariest movie ever made about tattoos .

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


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


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


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


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

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


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


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

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 .


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


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- .

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


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 .

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 .


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


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

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


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


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

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


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


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


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 .


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

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


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 .


but there 's plenty to offend everyone ...

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


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

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


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


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


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


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

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


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

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


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


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 .

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


an inexperienced director , mehta has much to learn .


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

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


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


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

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 .


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


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


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


impostor is a step down for director gary fleder .


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 .


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


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

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


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


these people are really going to love the piano teacher .

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


its initial excitement settles into a warmed over pastiche .


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


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 .


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

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


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


your children will be occupied for 72 minutes .


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 .


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

imagine susan sontag falling in love with howard stern .


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


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

nothing happens , and it happens to flat characters .


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


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

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 .


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 .

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


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


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

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 .


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 .

there 's nothing to gain from watching they .


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


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

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


a film of delicate interpersonal dances .


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

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


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 .


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


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

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


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


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

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


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

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


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


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


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

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


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


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

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


... 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 .


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


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


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


a 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 .

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


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


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

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


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


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

the 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 .


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


the country bears wastes an exceptionally good idea .

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


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 ...

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


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


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


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

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


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 .


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

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


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


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 .

hollywood ending is the most disappointing woody allen movie ever .


never inspires more than an interested detachment .


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


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


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


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


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


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


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

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 .


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 .


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


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


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

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


the story is bogus and its characters tissue-thin .

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


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


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

this comic gem is as delightful as it is derivative .


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


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 .


never inspires more than an interested detachment .


... 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 .

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


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


-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 .


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


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

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


an inexperienced director , mehta has much to learn .


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

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


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 .


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

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


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


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

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


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


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


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

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 .


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


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


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


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

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


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


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 story is bogus and its characters tissue-thin .


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

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


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 .


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 .

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 .


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


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


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


it 's never dull and always looks good .

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


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


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

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


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 .


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

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 .


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


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


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


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


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 .

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


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


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

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


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


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 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 .


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 .


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

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


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


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 .

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


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

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


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


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

little more than a well-mounted history lesson .


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


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

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


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


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

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


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 . '

it 's never dull and always looks good .


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


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


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


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


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

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


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


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

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


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


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

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


its initial excitement settles into a warmed over pastiche .


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

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


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


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

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 .


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 .


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

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


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


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

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


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


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

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


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- .


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


these people are really going to love the piano teacher .


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

imagine susan sontag falling in love with howard stern .


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


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

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


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


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


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 .

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


it 's never dull and always looks good .


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

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 .


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


and they succeed merrily at their noble endeavor .


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 .


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


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

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


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 .


impostor is a step down for director gary fleder .

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


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


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


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

... 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 .


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


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 ?

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


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


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

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


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


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


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


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


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 .


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

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


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


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


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


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

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


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

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


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


your children will be occupied for 72 minutes .

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


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

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 adventures of pluto nash is a whole lot of nada .


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 .


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


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


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


a harrowing account of a psychological breakdown .

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


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


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 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 .


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

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


too much of storytelling moves away from solondz 's social critique , casting its audience as that of intellectual lector in contemplation of the auteur 's professional injuries .


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

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


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


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 .

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


a compelling yarn , but not quite a ripping one .


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

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


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

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


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 .


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

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


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


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


a loud , brash and mainly unfunny high school comedy .


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

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


imagine susan sontag falling in love with howard stern .


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

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 .


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