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This is a finely written, superbly acted offbeat thriller.

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Think The Lion King redone for horses, with fewer deliberate laughs, more inadvertent ones and stunningly trite songs by Bryan Adams, the world's most generic rock star.

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Like a skillful fisher, the director uses the last act to reel in the audience since its poignancy hooks us completely.

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Uncommonly stylish but equally silly...the picture fails to generate much suspense, nor does it ask searching enough questions to justify its pretensions.

Such master screenwriting comes courtesy of John Pogue, the Yale grad who previously gave us ``The Skulls'' and last year's ``Rollerball.'' Enough said, except: Film overboard!

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It's as if you're watching a movie that was made in 1978 but not released then because it was so weak, and it has been unearthed and released now, when it has become even weaker.

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The film is a masterpiece of nuance and characterization, marred only by an inexplicable, utterly distracting blunder at the very end.

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Tsai has a well-deserved reputation as one of the cinema world's great visual stylists, and in this film, every shot enhances the excellent performances.

With virtually no interesting elements for an audience to focus on, Chelsea Walls is a triple-espresso endurance challenge.

Everything that was right about Blade is wrong in its sequel.

Asia authors herself as Anna Battista, an Italian superstar and aspiring directress who just happens to be her own worst enemy.

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Directors Harry Gantz and Joe Gantz have chosen a fascinating subject matter, but the couples exposing themselves aren't all that interesting.

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Pumpkin means to be an outrageous dark satire on fraternity life, but its ambitions far exceed the abilities of writer Adam Larson Broder and his co-director, Tony R. Abrams, in their feature debut.

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There is only so much baked cardboard I need to chew.

...no charm, no laughs, no fun, no reason to watch.

Rich in shadowy metaphor and as sharp as a samurai sword, Jiang Wen's Devils on the Doorstep is a wartime farce in the alternately comic and gut-wrenching style of Joseph Heller or Kurt Vonnegut.

Funny and touching.

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...fuses the events of her life with the imagery in her paintings so vividly that the artist's work may take on a striking new significance for anyone who sees the film.

Too loud, too long and too frantic by half, Die Another Day suggests that the Bond franchise has run into a creative wall that 007 cannot fly over, tunnel under or barrel through.

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3.28876E+11

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Like a tone-deaf singer at a benefit concert, John Q. is a bad movie appearing on behalf of a good cause.

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4.0785E+11

The laughs are as rare as snake foo yung.

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At a brief 42 minutes, we need more X and less blab.

Why would anyone cast the magnificent Jackie Chan in a movie full of stunt doubles and special effects?

A ponderous meditation on love that feels significantly longer than its relatively scant 97 minutes.

That rare movie that works on any number of levels -- as a film of magic and whimsy for children, a heartfelt romance for teenagers and a compelling argument about death, both pro and con, for adults.

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The magic (and original running time) of ace Japanimator Hayao Miyazaki's Spirited Away survives intact in BV's re-voiced version.

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At some point, all this visual trickery stops being clever and devolves into flashy, vaguely silly overkill.

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It looks good, but it is essentially empty.

It's a smart, solid, kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn. Nothing overly original, mind you, but solidly entertaining.

Stars Matthew Perry and Elizabeth Hurley illicit more than a chuckle, and more jokes land than crash, but ultimately Serving Sara doesn't distinguish itself from the herd.

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A cautionary tale about the grandiosity of a college student who sees himself as impervious to a fall.

The cast is phenomenal, especially the women.

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Without resorting to camp or parody, Haynes (like Sirk, but differently) has transformed the rhetoric of Hollywood melodrama into something provocative, rich, and strange.

As social expos茅, Skins has its heart in the right place, but that's not much to hang a soap opera on.

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The setting is so cool that it chills the characters, reducing our emotional stake in the outcome of ``Intacto's'' dangerous and seductively stylish game.

A time machine, a journey back to your childhood, when cares melted away in the dark theater, and films had the ability to mesmerize, astonish and entertain.

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Assured, vital and well wrought, the film is, arguably, the most accomplished work to date from Hong Kong's versatile Stanley Kwan.

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What a stiflingly unfunny and unoriginal mess this is!

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The dirty jokes provide the funniest moments in this oddly sweet comedy about jokester highway patrolmen.

Human Nature, in short, isn't nearly as funny as it thinks it is; neither is it as smart.

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The movie has very little to offer besides unintentional laughs.

While Super Troopers is above Academy standards, its quintet of writers could still use some more schooling.

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1.21687E+11

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The volatile dynamics of female friendship is the subject of this unhurried, low-key film that is so off-Hollywood that it seems positively French in its rhythms and resonance.

It's a bad thing when a movie has about as much substance as its end credits blooper reel.

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http://www.google.com/search?q=OWASP%20ZAP

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Is there enough material to merit a documentary on the making of Wilco's last album?

Did no one on the set have a sense of humor, or did they not have the nerve to speak up?

0.958989778

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