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uneasy mishmash of styles and genres .
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this film 's relationship to actual tension is the same as what christmas-tree flocking in a spray can is to actual snow : a poor -- if durable -- imitation .
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by the end of no such thing the audience , like beatrice , has a watchful affection for the monster .
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director rob marshall went out gunning to make a great one .
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lathan and diggs have considerable personal charm , and their screen rapport makes the old story seem new .
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a well-made and often lovely depiction of the mysteries of friendship .
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none of this violates the letter of behan 's book , but missing is its spirit , its ribald , full-throated humor .
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although it bangs a very cliched drum at times , this crowd-pleaser 's fresh dialogue , energetic music , and good-natured spunk are often infectious .
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it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another .
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this is junk food cinema at its greasiest .
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it 's also heavy-handed and devotes too much time to bigoted views .
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it helps that lil bow wow ... tones down his pint-sized gangsta act to play someone who resembles a real kid .
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watching the film is like reading a times portrait of grief that keeps shifting focus to the journalist who wrote it .
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moore 's performance impresses almost as much as her work with haynes in 1995 's safe .
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reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich .
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now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism .
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a journey through memory , a celebration of living , and a sobering rumination on fatality , classism , and ignorance .
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a remarkable 179-minute meditation on the nature of revolution .
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waydowntown is by no means a perfect film , but its boasts a huge charm factor and smacks of originality .
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it 's just incredibly dull .
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some , like ballistic , arrive stillborn ... looking like the beaten , well-worn video box cover of seven years into the future .
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a feel-good picture in the best sense of the term .
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mark me down as a non-believer in werewolf films that are not serious and rely on stupidity as a substitute for humor .
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good movie .
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with spy kids 2 : the island of lost dreams writer/director/producer robert rodriguez has cobbled together a film that feels like a sugar high gone awry .
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starts off with a bang , but then fizzles like a wet stick of dynamite at the very end .
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the best way to hope for any chance of enjoying this film is by lowering your expectations .
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while the mystery surrounding the nature of the boat 's malediction remains intriguing enough to sustain mild interest , the picture refuses to offer much accompanying sustenance in the way of characterization , humor or plain old popcorn fun .
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this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border .
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here 's a british flick gleefully unconcerned with plausibility , yet just as determined to entertain you .
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most new movies have a bright sheen .
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so few movies explore religion that it 's disappointing to see one reduce it to an idea that fits in a sampler .
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nothing more than a mediocre trifle .
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a model of what films like this should be like .
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gangs of new york is an unapologetic mess , whose only saving grace is that it ends by blowing just about everything up .
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doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie 's spycraft and uses damon 's ability to be focused and sincere .
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another big , dumb action movie in the vein of xxx , the transporter is riddled with plot holes big enough for its titular hero to drive his sleek black bmw through .
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it becomes gimmicky instead of compelling .
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falters when it takes itself too seriously and when it depends too heavily on its otherwise talented cast to clown in situations that are n't funny .
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verbinski substitutes atmosphere for action , tedium for thrills .
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it is a kickass , dense sci-fi action thriller hybrid that delivers and then some .
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a bigger holiday downer than your end-of-year 401 ( k ) statement .
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as a belated nod to some neglected all-stars , standing in the shadows of motown is cultural history of the best kind : informative , revealing and richly entertaining .
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sensitive , insightful and beautifully rendered film .
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no number of fantastic sets , extras , costumes and spectacular locales can disguise the emptiness at the center of the story .
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not too far below the gloss you can still feel director denis villeneuve 's beating heart and the fondness he has for his characters .
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for benigni it was n't shakespeare whom he wanted to define his career with but pinocchio .
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how did it ever get made ?
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it would n't be my preferred way of spending 100 minutes or $ 7.00 .
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the furious coherence that ( deniro ) brings to this part only underscores the fuzzy sentimentality of the movie itself , which feels , as it plods toward the end , less like a movie than like the filmed reading of a script in need of polishing .
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barely goes beyond comic book status .
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elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone .
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for all its highfalutin title and corkscrew narrative , the movie turns out to be not much more than a shaggy human tale .
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watching trouble every day , at least if you do n't know what 's coming , is like biting into what looks like a juicy , delicious plum on a hot summer day and coming away with your mouth full of rotten pulp and living worms .
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a clever blend of fact and fiction .
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it delivers some chills and sustained unease , but flounders in its quest for deeper meaning .
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could the country bears really be as bad as its trailers ?
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there are weird resonances between actor and role here , and they 're not exactly flattering .
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not only does the movie fail to make us part of its reality , it fails the most basic relevancy test as well .
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and if the hours wins ` best picture ' i just might .
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it is so refreshing to see robin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he 's been making for the last several years .
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i did n't laugh at the ongoing efforts of cube , and his skinny buddy mike epps , to make like laurel and hardy 'n the hood .
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with danilo donati 's witty designs and dante spinotti 's luscious cinematography , this might have made a decent children 's movie -- if only benigni had n't insisted on casting himself in the title role .
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thurman and lewis are hilarious throughout .
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tender yet lacerating and darkly funny fable .
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jacquot 's tosca is a treat .
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interacting eyeball-to-eyeball and toe-to-toe , hopkins and norton are a winning combination -- but fiennes steals ` red dragon ' right from under their noses .
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the film 's center will not hold .
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aspires for the piquant but only really achieves a sort of ridiculous sourness .
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unlike his directorial efforts , la femme nikita and the professional , the transporter lacks besson 's perspective as a storyteller .
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` abandon all hope , ye who enter here ' ... you should definitely let dante 's gloomy words be your guide .
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a very witty take on change , risk and romance , and the film uses humor to make its points about acceptance and growth .
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hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love .
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ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier .
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a mawkish , implausible platonic romance that makes chaplin 's city lights seem dispassionate by comparison .
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do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman does n't work ?
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instead , we just get messy anger , a movie as personal therapy .
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once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale .
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flotsam in the sea of moviemaking , not big enough for us to worry about it causing significant harm and not smelly enough to bother despising .
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thoughtful , provocative and entertaining .
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it 's disappointing when filmmakers throw a few big-name actors and cameos at a hokey script .
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an absorbing , slice-of-depression life that touches nerves and rings true .
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u.s. audiences may find ( attal and gainsbourg 's ) unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts .
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everywhere the camera looks there is something worth seeing .
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but if it is indeed a duty of art to reflect life , than leigh has created a masterful piece of artistry right here .
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biggie and tupac is so single-mindedly daring , it puts far more polished documentaries to shame .
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... the last time i saw a theater full of people constantly checking their watches was during my sats .
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will probably stay in the shadow of its two older , more accessible qatsi siblings .
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characters wander into predictably treacherous situations even though they should know better .
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i 'm not suggesting that you actually see it , unless you 're the kind of person who has seen every wim wenders film of the '70s .
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gloriously goofy ( and gory ) midnight movie stuff .
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an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u.s. relocation camps to keep their hopes alive in 1975 .
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big fat liar is just futile silliness looking to tap into the kiddie sensibilities .
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the movie is full of fine performances , led by josef bierbichler as brecht and monica bleibtreu as helene weigel , his wife .
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barney has created a tour de force that is weird , wacky and wonderful .
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a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women .
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the comic performances are all spot on , especially lee ross 's turn as ken .
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the film hinges on its performances , and both leads are up to the task .
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accuracy and realism are terrific , but if your film becomes boring , and your dialogue is n't smart , then you need to use more poetic license .
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it 's often faintly amusing , but the problems of the characters never become important to us , and the story never takes hold .
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End of preview (truncated to 100 rows)