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a thoughtful , reverent portrait of what is essentially a subculture , with its own rules regarding love and family , governance and hierarchy .

some movies can get by without being funny simply by structuring the scenes as if they were jokes : a setup , delivery and payoff . stealing harvard ca n't even do that much . each scene immediately succumbs to gravity and plummets to earth .

a markedly inactive film , city is conversational bordering on confessional .

children and adults enamored of all things pokemon wo n't be disappointed .

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

it 's lazy for a movie to avoid solving one problem by trying to distract us with the solution to another .

mckay shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .

i like it . there is a freedom to watching stunts that are this crude , this fast-paced and this insane .

you 're better off staying home and watching the x-files .

in an effort , i suspect , not to offend by appearing either too serious or too lighthearted , it offends by just being wishy-washy .

makes a joke out of car chases for an hour and then gives us half an hour of car chases .

os universos de chuck barris e charlie kaufman sM-co complementares . e igualmente fascinantes .

schneider 's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story 's continuity and progression .

minority report is exactly what the title indicates , a report .

the film 's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .

one of those movies that make us pause and think of what we have given up to acquire the fast-paced contemporary society .

white has n't developed characters so much as caricatures , one-dimensional buffoons that get him a few laughs but nothing else .

there 's no question that epps scores once or twice , but it 's telling that his funniest moment comes when he falls about ten feet onto his head .

an enormously entertaining movie , like nothing we 've ever seen before , and yet completely familiar .

lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .

bang ! zoom ! it 's actually pretty funny , but in all the wrong places .

try as you might to resist , if you 've got a place in your heart for smokey robinson , this movie will worm its way there .

the film is powerful , accessible and funny . you wo n't miss its messages , but you 'll be entertained as well .

the movie addresses a hungry need for pg-rated , nonthreatening family movies , but it does n't go too much further .

the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon .

it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons .

it 's as sorry a mess as its director 's diabolical debut , mad cows .

a respectable venture on its own terms , lacking the broader vision that has seen certain trek films . . . cross over to a more mainstream audience .

plodding , peevish and gimmicky .

the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine .

. . . plays like somebody spliced random moments of a chris rock routine into what is otherwise a cliche-riddled but self-serious spy thriller .

the film makes strong arguments regarding the social status of america 's indigenous people , but really only exists to try to eke out an emotional tug of the heart , one which it fails to get .

[ city ] reminds us how realistically nuanced a robert de niro performance can be when he is not more lucratively engaged in the shameless self-caricature of 'analyze this ' ( 1999 ) and 'analyze that , ' promised ( or threatened ) for later this year .

the irony is that this film 's cast is uniformly superb ; their performances could have -- should have -- been allowed to stand on their own .

too ordinary to restore [ harmon ] to prominence , despite some creepy scenes that evoke childish night terrors , and a praiseworthy attempt to generate suspense rather than gross out the audience .

everybody loves a david and goliath story , and this one is told almost entirely from david 's point of view .

i 'd be lying if i said my ribcage did n't ache by the end of kung pow .

labute masterfully balances both traditional or modern stories together in a manner that one never overwhelms the other . something for everyone .

maybe leblanc thought , `` hey , the movie about the baseball-playing monkey was worse . ``

writer and director otar iosseliani 's pleasant tale about a factory worker who escapes for a holiday in venice reveals how we all need a playful respite from the grind to refresh our souls .

a processed comedy chop suey .

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

if legendary shlockmeister ed wood had ever made a movie about a vampire , it probably would look a lot like this alarming production , adapted from anne rice 's novel the vampire chronicles .

began life as a computer game , then morphed into a movie -- a bad one , of course .

an awful snooze .

there is a kind of attentive concern that hoffman brings to his characters , as if he has been giving them private lessons , and now it is time for their first public recital .

as saccharine as it is disposable .

the story is predictable , the jokes are typical sandler fare , and the romance with ryder is puzzling .

chaotic , self-indulgent and remarkably ugly to look at , it 's . . . like a series of pretentiously awful student films strung together into one feature-length horror .

ofrece una buena oportunidad de cultura ( aunque sea condensada ) que bien vale la pena aprovechar .

sheridan 's take on the author 's schoolboy memoir . . . is a rather toothless take on a hard young life .

as a kind of colorful , dramatized pbs program , frida gets the job done . but , for that , why not watch a documentary ?

the iditarod lasts for days - this just felt like it did .

'they ' begins and ends with scenes so terrifying i 'm still stunned . and i 've decided to leave a light on every night from now on .

the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear .

hilarious , acidic brit comedy .

admirably ambitious but self-indulgent .

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

a gripping , searing portrait of a lost soul trying to find her way through life .

tackles the difficult subject of grief and loss with such life-embracing spirit that the theme does n't drag an audience down .

[ t ] he script is n't up to the level of the direction , nor are the uneven performances by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent .

stupid , infantile , redundant , sloppy , over-the-top , and amateurish . yep , it 's `` waking up in reno . `` go back to sleep .

as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .

the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl .

for all its brooding quality , ash wednesday is suspenseful and ultimately unpredictable , with a sterling ensemble cast .

a particularly joyless , and exceedingly dull , period coming-of-age tale .

the niftiest trick perpetrated by the importance of being earnest is the alchemical transmogrification of wilde into austen -- and a hollywood-ized austen at that .

they threw loads of money at an idea that should 've been so much more even if it was only made for teenage boys and wrestling fans .

jeffs has created a breathtakingly assured and stylish work of spare dialogue and acute expressiveness .

i believe silberling had the best intentions here , but he just does n't have the restraint to fully realize them .

every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .

the lightest , most breezy movie steven spielberg has made in more than a decade . and the positive change in tone here seems to have recharged him .

. . . the good and different idea [ of middle-aged romance ] is not handled well and , except for the fine star performances , there is little else to recommend `` never again . ``

a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .

a negligible british comedy .

hugely accomplished slice of hitchcockian suspense .

the entire point of a shaggy dog story , of course , is that it goes nowhere , and this is classic nowheresville in every sense .

if you are curious to see the darker side of what 's going on with young tv actors ( dawson leery did what ? ! ? ) , or see some interesting storytelling devices , you might want to check it out , but there 's nothing very attractive about this movie .

the transporter is as lively and as fun as it is unapologetically dumb

the exploitative , clumsily staged violence overshadows everything , including most of the actors .

a soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for nba properties .

there 's more scatological action in 8 crazy nights than a proctologist is apt to encounter in an entire career .

seriously , rent the disney version .

matches neorealism 's impact by showing the humanity of a war-torn land filled with people who just want to live their lives .

a rip-roaring comedy action fest that 'll put hairs on your chest .

ninety minutes of viva castro ! can be as tiresome as 9 seconds of jesse helms ' anti- castro rhetoric , which are included

the talented and clever robert rodriguez perhaps put a little too much heart into his first film and did n't reserve enough for his second .

the movie 's major and most devastating flaw is its reliance on formula , though , and it 's quite enough to lessen the overall impact the movie could have had .

like mike is n't interested in recycling old cliches . it wants to tweak them with a taste of tangy new humor .

[ plays ] in broad outline as pandering middle-age buddy-comedy .

elling builds gradually until you feel fully embraced by this gentle comedy .

divertingly ridiculous , headbangingly noisy .

`` brown sugar `` admirably aspires to be more than another `` best man `` clone by weaving a theme throughout this funny film .

while the glass slipper does n't quite fit , pumpkin is definitely a unique modern fairytale .

manages to be wholesome and subversive at the same time .

even if it made its original release date last fall , it would 've reeked of a been-there , done-that sameness .

reign of fire looks as if it was made without much thought -- and is best watched that way .

it 's hard to pity the 'plain ' girl who becomes a ravishing waif after applying a smear of lip-gloss . rather , pity anyone who sees this mishmash .

what the director can & # 8217 ; t do is make either of val kilmer & # 8217 ; s two personas interesting or worth caring about .

try as i may , i ca n't think of a single good reason to see this movie , even though everyone in my group extemporaneously shouted , 'thank you ! ' when leguizamo finally plugged an irritating character late in the movie .