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the acting , costumes , music , cinematography and sound are all astounding given the production austere locales .

or doing last year taxes with your ex-wife .

you do n't have to know about music to appreciate the film easygoing blend of comedy and romance .

thanks to scott charismatic roger and eisenberg sweet nephew , roger dodger is one of the most compelling variations on in the company of men .

( w ) hile long on amiable monkeys and worthy environmentalism , jane goodall wild chimpanzees is short on the thrills the oversize medium demands .

for the most part , director anne-sophie birot first feature is a sensitive , extraordinarily well-acted drama .

the script kicks in , and mr. hartley distended pace and foot-dragging rhythms follow .

among the year most intriguing explorations of alientation .

the son room is a triumph of gentility that earns its moments of pathos .

the band courage in the face of official repression is inspiring , especially for aging hippies ( this one included ) .

fresnadillo dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .

if steven soderbergh ` solaris ' is a failure it is a glorious failure .

the movie relatively simple plot and uncomplicated morality play well with the affable cast .

what the director ca n't do is make either of val kilmer two personas interesting or worth caring about .

slapstick buffoonery can tickle many a preschooler fancy , but when it costs a family of four about $ 40 to see a film in theaters , why spend money on a dog like this when you can rent a pedigree instead ?

a woman pic directed with resonance by ilya chaiken .

leigh film is full of memorable performances from top to bottom .

if you dig on david mamet mind tricks ... rent this movie and enjoy !

the film performances are thrilling .

the movie is beautiful to behold and engages one in a sense of epic struggle -- inner and outer -- that 's all too rare in hollywood hastier productions .

a celebration of quirkiness , eccentricity , and certain individuals tendency to let it all hang out , and damn the consequences .

morton uses her face and her body language to bring us morvern soul , even though the character is almost completely deadpan .

so , too , is this comedy about mild culture clashing in today new delhi .

inside the film conflict-powered plot there is a decent moral trying to get out , but it 's not that , it 's the tension that keeps you in your seat .

that dogged good will of the parents and ` vain ' jia defoliation of ego , make the film touching despite some doldrums .

to say this was done better in wilder some like it hot is like saying the sun rises in the east .

a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton directing debut is a creepy slice of gothic rural americana .

it 's not that kung pow is n't funny some of the time -- it just is n't any funnier than bad martial arts movies are all by themselves , without all oedekerk impish augmentation .

not since japanese filmmaker akira kurosawa ran have the savagery of combat and the specter of death been visualized with such operatic grandeur .

brilliantly explores the conflict between following one heart and following the demands of tradition .

dazzles with its fully-written characters , its determined stylishness ( which always relates to characters and story ) and johnny dankworth best soundtrack in years .

stealing harvard is evidence that the farrelly bros. -- peter and bobby -- and their brand of screen comedy are wheezing to an end , along with green half-hearted movie career .

one of the more intelligent children movies to hit theaters this year .

blanchett performance confirms her power once again .

a rarity among recent iranian films : it 's a comedy full of gentle humor that chides the absurdity of its protagonist plight .

it 's like every bad idea that 's ever gone into an after-school special compiled in one place , minus those daytime programs slickness and sophistication ( and who knew they even had any ? ) .

chilling , well-acted , and finely directed : david jacobson dahmer .

paid in full is so stale , in fact , that its most vibrant scene is one that uses clips from brian de palma scarface .

a coda in every sense , the pinochet case splits time between a minute-by-minute account of the british court extradition chess game and the regime talking-head survivors .

it just may inspire a few younger moviegoers to read stevenson book , which is a treasure in and of itself .

it 's so good that its relentless , polished wit can withstand not only inept school productions , but even oliver parker movie adaptation .

at a time when half the so-called real movies are little more than live-action cartoons , it 's refreshing to see a cartoon that knows what it is , and knows the form history .

the old-world - meets-new mesh is incarnated in the movie soundtrack , a joyful effusion of disco bollywood that , by the end of monsoon wedding , sent my spirit soaring out of the theater .

a densely constructed , highly referential film , and an audacious return to form that can comfortably sit among jean-luc godard finest work .

utterly lacking in charm , wit and invention , roberto benigni pinocchio is an astonishingly bad film .

with the exception of some fleetingly amusing improvisations by cedric the entertainer as perry boss , there is n't a redeeming moment here .

this tenth feature is a big deal , indeed -- at least the third-best , and maybe even a notch above the previous runner-up , nicholas meyer star trek vi : the undiscovered country .

` easily my choice for one of the year best films . '

the special effects and many scenes of weightlessness look as good or better than in the original , while the oscar-winning sound and james horner rousing score make good use of the hefty audio system .

with tightly organized efficiency , numerous flashbacks and a constant edge of tension , miller film is one of 2002 involvingly adult surprises .

whether writer-director anne fontaine film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .

maud and roland search for an unknowable past makes for a haunting literary detective story , but labute pulls off a neater trick in possession : he makes language sexy .

the movie accumulated force still feels like an ugly knot tightening in your stomach .

charles entertaining film chronicles seinfeld return to stand-up comedy after the wrap of his legendary sitcom , alongside wannabe comic adams attempts to get his shot at the big time .

the film hackneyed message is not helped by the thin characterizations , nonexistent plot and pretentious visual style .

yakusho and shimizu ... create engaging characterizations in imamura lively and enjoyable cultural mix .

not only are the special effects and narrative flow much improved , and daniel radcliffe more emotionally assertive this time around as harry , but the film conjures the magic of author j.k. rowling books .

even on those rare occasions when the narrator stops yammering , miller hand often feels unsure .

( chaiken ) talent lies in an evocative , accurate observation of a distinctive milieu and in the lively , convincing dialogue she creates for her characters .

if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther story is a compelling quest for truth .

intriguing documentary which is emotionally diluted by focusing on the story least interesting subject .

reggio continual visual barrage is absorbing as well as thought-provoking .

thanks to haynes absolute control of the film mood , and buoyed by three terrific performances , far from heaven actually pulls off this stylistic juggling act .

cq reflection of artists and the love of cinema-and-self suggests nothing less than a new voice that deserves to be considered as a possible successor to the best european directors .

as a rumor of angels reveals itself to be a sudsy tub of supernatural hokum , not even ms. redgrave noblest efforts can redeem it from hopeless sentimentality .

it showcases carvey talent for voices , but not nearly enough and not without taxing every drop of one patience to get to the good stuff .

the overall effect is less like a children movie than a recruitment film for future hollywood sellouts .

anchored by friel and williams exceptional performances , the film power lies in its complexity .

harrison flowers puts its heart in the right place , but its brains are in no particular place at all .

lapaglia ability to convey grief and hope works with weaver sensitive reactions to make this a two-actor master class .

villeneuve spends too much time wallowing in bibi generic angst ( there are a lot of shots of her gazing out windows ) .

care deftly captures the wonder and menace of growing up , but he never really embraces the joy of fuhrman destructive escapism or the grace-in-rebellion found by his characters .

michael gerbosi script is economically packed with telling scenes .

moretti compelling anatomy of grief and the difficult process of adapting to loss .

although huppert intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .

although german cooking does not come readily to mind when considering the world best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .

the plot convolutions ultimately add up to nothing more than jerking the audience chain .

feature debuter d.j. caruso directs a crack ensemble cast , bringing screenwriter tony gayton narcotics noir to life .

seldahl barbara is a precise and moving portrait of someone whose world is turned upside down , first by passion and then by illness .

the film tone and pacing are off almost from the get-go .

zaidan script has barely enough plot to string the stunts together and not quite enough characterization to keep the faces straight .

vera technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .

the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess home video of their baby birth .

writer-director mehta effort has tons of charm and the whimsy is in the mixture , the intoxicating masala , of cultures and film genres .

further proof that the epicenter of cool , beautiful , thought-provoking foreign cinema is smack-dab in the middle of dubya axis of evil .

the film few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .

due to some script weaknesses and the casting of the director brother , the film trails off into inconsequentiality .

a lackluster , unessential sequel to the classic disney adaptation of j.m. barrie peter pan .

the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan madness .

no screen fantasy-adventure in recent memory has the showmanship of clones last 45 minutes .

samira makhmalbaf new film blackboards is much like the ethos of a stream of consciousness , although , it 's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal

whaley determination to immerse you in sheer , unrelenting wretchedness is exhausting .

worth watching for dong jie performance -- and for the way it documents a culture in the throes of rapid change .

vera three actors -- mollà , gil and bardem -- excel in insightful , empathetic performances .

( grant ) bumbling magic takes over the film , and it turns out to be another winning star vehicle .

the piece plays as well as it does thanks in large measure to anspaugh three lead actresses .

this is n't even madonna swept away .

oscar wilde masterpiece , the importance of being earnest , may be the best play of the 19th century .

nelson brutally unsentimental approach ... sucks the humanity from the film , leaving behind an horrific but weirdly unemotional spectacle .

there 's enough melodrama in this magnolia primavera to make pta proud yet director muccino characters are less worthy of puccini than they are of daytime television .