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our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender and i know this because i 've seen 'jackass : the movie . '

the whole mess boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years .

sem se preocupar em criar momentos melodramM-aticos para arrancar lM-agrimas do espectador , o pianista M-i um filme triste sem que , para isso , precise ser emocionante .

richly entertaining and suggestive of any number of metaphorical readings .

some elements of it really blow the big one , but other parts are decent .

it 's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress .

one scene after another in this supposedly funny movie falls to the floor with a sickening thud .

she 's as rude and profane as ever , always hilarious and , most of the time , absolutely right in her stinging social observations .

strong setup and ambitious goals fade as the film descends into unsophisticated scare tactics and b-film thuggery .

the film can depress you about life itself .

melds derivative elements into something that is often quite rich and exciting , and always a beauty to behold .

the merchant-ivory team continues to systematically destroy everything we hold dear about cinema , only now it 's begun to split up so that it can do even more damage .

time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets

most of the film feels conceived and shot on the fly -- like between lunch breaks for shearer 's radio show and his simpson voice-overs .

swimming is above all about a young woman 's face , and by casting an actress whose face projects that woman 's doubts and yearnings , it succeeds .

a bonanza of wacky sight gags , outlandish color schemes , and corny visual puns that can be appreciated equally as an abstract frank tashlin comedy and as a playful recapitulation of the artist 's career .

a very slow , uneventful ride around a pretty tattered old carousel .

ramsay and morton fill this character study with poetic force and buoyant feeling .

a movie that will touch the hearts of both children and adults , as well as bring audiences to the edge of their seats .

paxton 's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre .

what one is left with , even after the most awful acts are committed , is an overwhelming sadness that feels as if it has made its way into your very bloodstream .

most folks with a real stake in the american sexual landscape will find it either moderately amusing or just plain irrelevant .

behan 's memoir is great material for a film -- rowdy , brawny and lyrical in the best irish sense -- but sheridan has settled for a lugubrious romance .

with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout . . . by which time it 's impossible to care who wins .

what could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking .

never quite transcends jokester status . . . and the punchline does n't live up to barry 's dead-eyed , perfectly chilled delivery .

aggressive self-glorification and a manipulative whitewash . stay for the credits and see a devastating comic impersonation by dustin hoffman that is revelatory .

if this is cinema , i pledge allegiance to cagney and lacey .

it has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story just complicated enough to let you bask in your own cleverness as you figure it out .

spy kids 2 also happens to be that rarity among sequels : it actually improves upon the original hit movie .

pretty much sucks , but has a funny moment or two .

. . . a triumph of emotionally and narratively complex filmmaking .

miyazaki 's nonstop images are so stunning , and his imagination so vivid , that the only possible complaint you could have about spirited away is that there is no rest period , no timeout .

what [ denis ] accomplishes in his chilling , unnerving film is a double portrait of two young women whose lives were as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned .

the movie is for fans who ca n't stop loving anime , and the fanatical excess built into it .

not every animated film from disney will become a classic , but forgive me if i 've come to expect more from this studio than some 79-minute after-school `` cartoon `` .

putting the primitive murderer inside a high-tech space station unleashes a pandora 's box of special effects that run the gamut from cheesy to cheesier to cheesiest .

a mess , but it 's a sincere mess .

the plot plummets into a comedy graveyard before janice comes racing to the rescue in the final reel .

an already thin story boils down to surviving invaders seeking an existent anti-virus . if only there were one for this kind of movie .

barney 's ideas about creation and identity do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material .

a first-class , thoroughly involving b movie that effectively combines two surefire , beloved genres -- the prison flick and the fight film .

from the opening strains of the average white band 's `` pick up the pieces `` , you can feel the love .

it kinda works and qualifies as cool at times , but is just too lame to work or be cool at others .

control-alt-delete simone as quickly as possible

whatever eyre 's failings as a dramatist , he deserves credit for bringing audiences into this hard and bitter place .

it feels like very light errol morris , focusing on eccentricity but failing , ultimately , to make something bigger out of its scrapbook of oddballs .

while certain cues , like the happy music , suggest that this movie is supposed to warm our hearts , jeong-hyang lee 's film is just as likely to blacken that organ with cold vengefulness .

glib , satirical documentary that fudges facts , makes facile points and engages in the cinematic equivalent of tabloid journalism .

yet another arnold vehicle that fails to make adequate use of his particular talents .

simple , poignant and leavened with humor , it 's a film that affirms the nourishing aspects of love and companionship .

enticing and often funny documentary .

. . . a pretentious mess . . .

offensive in the way it exploits the hot-button issue of domestic abuse for cheap thrills and disgusting in the manner it repeatedly puts a small child in jeopardy , treating her as little more than a prop to be cruelly tormented .

the film makes a fatal mistake : it asks us to care about a young man whose only apparent virtue is that he is not quite as unpleasant as some of the people in his life .

it 's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .

leigh is n't breaking new ground , but he knows how a daily grind can kill love .

although . . . visually striking and slickly staged , it 's also cold , grey , antiseptic and emotionally desiccated .

an acceptable way to pass a little over an hour with moviegoers ages 8-10 , but it 's unlikely to inspire anything more than a visit to mcdonald 's , let alone some savvy street activism .

a film that will be best appreciated by those willing to endure its extremely languorous rhythms , waiting for happiness is ultimately thoughtful without having much dramatic impact .

a fascinating case study of flower-power liberation -- and the price that was paid for it .

a mischievous visual style and oodles of charm make 'cherish ' a very good ( but not great ) movie .

whereas oliver stone 's conspiracy thriller jfk was long , intricate , star-studded and visually flashy , interview with the assassin draws its considerable power from simplicity .

the chateau . . . is less concerned with cultural and political issues than doting on its eccentric characters .

hollywood 's answer to an air ball .

for all the time we spend with these people , we never really get inside of them .

we have poignancy jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat .

for most of the distance the picture provides a satisfyingly unsettling ride into the dark places of our national psyche .

the imax screen enhances the personal touch of manual animation .

has lost some of the dramatic conviction that underlies the best of comedies . . .

visually striking and viscerally repellent .

a graceful , contemplative film that gradually and artfully draws us into a world where the personal and the political get fatally intertwined .

though it was made with careful attention to detail and is well-acted by james spader and maggie gyllenhaal , i felt disrespected .

for almost the first two-thirds of martin scorsese 's 168-minute gangs of new york , i was entranced .

director tom shadyac and star kevin costner glumly mishandle the story 's promising premise of a physician who needs to heal himself .

lyne 's latest , the erotic thriller unfaithful , further demonstrates just how far his storytelling skills have eroded .

i 've never seen or heard anything quite like this film , and i recommend it for its originality alone .

wasabi is slight fare indeed , with the entire project having the feel of something tossed off quickly ( like one of hubert 's punches ) , but it should go down smoothly enough with popcorn .

strident and inelegant in its 'message-movie ' posturing .

the movie keeps coming back to the achingly unfunny phonce and his several silly subplots .

gives an intriguing twist to the french coming-of-age genre .

the film is all a little lit crit 101 , but it 's extremely well played and often very funny .

it 's mildly interesting to ponder the peculiar american style of justice that plays out here , but it 's so muddled and derivative that few will bother thinking it all through .

[ janey ] forgets about her other obligations , leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies .

a virtual roller-coaster ride of glamour and sleaze .

dilbert without the right-on satiric humor .

the advantage of a postapocalyptic setting is that it can be made on the cheap . any rock pile will do for a set . reign of fire has the disadvantage of also looking cheap .

what a bewilderingly brilliant and entertaining movie this is .

the film has the courage of its convictions and excellent performances on its side .

'pocas veces es posible ver un elenco tan compenetrado con la historia , donde todos y cada uno de los actores ofrecen actuaciones verdaderamente memorables . '

red dragon is less baroque and showy than hannibal , and less emotionally affecting than silence . but , like silence , it 's a movie that gets under your skin .

nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre .

. . . hopefully it 'll be at the dollar theatres by the time christmas rolls around . wait to see it then .

exquisitely nuanced in mood tics and dialogue , this chamber drama is superbly acted by the deeply appealing veteran bouquet and the chilling but quite human berling .

an 83 minute document of a project which started in a muddle , seesawed back and forth between controlling interests multiple times , then found its sweet spot

wonder of wonders -- a teen movie with a humanistic message .

some movies were made for the big screen , some for the small screen , and some , like ballistic : ecks vs . sever , were made for the palm screen .

it 's a much more emotional journey than what shyamalan has given us in his past two movies , and gibson , stepping in for bruce willis , is the perfect actor to take us on the trip .

even if you 're an elvis person , you wo n't find anything to get excited about on this dvd .

there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch .