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writer/director joe carnahan grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic .
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while its careful pace and seemingly opaque story may not satisfy every moviegoer appetite , the film final scene is soaringly , transparently moving .
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very special effects , brilliantly bold colors and heightened reality ca n't hide the giant achilles heel in `` stuart little 2 `` : there 's just no story , folks .
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as ` chick flicks go , this one is pretty miserable , resorting to string-pulling rather than legitimate character development and intelligent plotting .
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... an otherwise intense , twist-and-turn thriller that certainly should n't hurt talented young gaghan resume .
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it confirms fincher status as a film maker who artfully bends technical know-how to the service of psychological insight .
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the film contains no good jokes , no good scenes , barely a moment when carvey saturday night live-honed mimicry rises above the level of embarrassment .
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bogdanovich tantalizes by offering a peep show into the lives of the era creme de la celluloid .
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but the power of these ( subjects ) is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film narrative .
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the affectionate loopiness that once seemed congenital to demme perspective has a tough time emerging from between the badly dated cutesy-pie mystery scenario and the newfangled hollywood post-production effects .
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i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer diapers .
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the movie is dawn of the dead crossed with john carpenter ghosts of mars , with zombies not as ghoulish as the first and trains not as big as the second .
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it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker motherland .
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late marriage stiffness is unlikely to demonstrate the emotional clout to sweep u.s. viewers off their feet .
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woody allen latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz .
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for all the writhing and wailing , tears , rage and opium overdoses , there 's no sense of actual passion being washed away in love dissolution .
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the film welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .
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stephen rea , aidan quinn , and alan bates play desmond legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , ` tis .
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bennett naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .
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looking aristocratic , luminous yet careworn in jane hamilton exemplary costumes , rampling gives a performance that could not be improved upon . '
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