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plays as hollow catharsis , with lots of tears but very little in the way of insights .

simplistic fluff-ball of whimsy .

like a grinning jack o ' lantern , its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .

it works its magic with such exuberance and passion that the film 's length becomes a part of its fun .

demonstrates the unusual power of thoughtful , subjective filmmaking .

an enthralling , entertaining feature .

does what a fine documentary does best : it extends a warm invitation into an unfamiliar world , then illuminates it fully and allows the larger implications of the journey to sink in unobtrusively .

the film is small in scope , yet perfectly formed .

we are left with a superficial snapshot that , however engaging , is insufficiently enlightening and inviting .

it 's not so much a movie as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil ' bow wow .

though mama takes a bit too long to find its rhythm and a third-act plot development is somewhat melodramatic , its ribald humor and touching nostalgia are sure to please anyone in search of a jules and jim for the new millennium .

it is so earnest , so overwrought and so wildly implausible that it begs to be parodied .

the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .

your taste for jonah - a veggie tales movie may well depend on your threshold for pop manifestations of the holy spirit .

stale , futile scenario .

there is no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract .

every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable . something like scrubbing the toilet . or emptying rat traps . or doing last year 's taxes with your ex-wife .

i love the way that it took chances and really asks you to take these great leaps of faith and pays off .

much monkeyfun for all .

rehearsals are frequently more fascinating than the results . last dance , whatever its flaws , fulfills one facet of its mission in making me want to find out whether , in this case , that 's true .

if routine action and jokes like this are your cup of tea , then pay your $ 8 and get ready for the big shear . this is one baaaaaaaaad movie .

bartlett 's hero remains a reactive cipher , when opening the man 's head and heart is the only imaginable reason for the film to be made .

the problem is that the movie has no idea of it is serious or not .

possibly not since grumpy old men have i heard a film so solidly connect with one demographic while striking out with another .

watching it is rather like an overlong visit from a large group of your relatives . as your relatives swap one mundane story after another , you begin to wonder if they are ever going to depart .

the dark and bittersweet twist feels strange as things turn nasty and tragic during the final third of the film . first-timer john mckay is never able to pull it back on course .

for a film about two mismatched buddies , crystal and de niro share little screen time and even less chemistry .

a distinctly mixed bag , the occasional bursts of sharp writing alternating with lots of sloppiness and the obligatory moments of sentimental ooze .

literary purists may not be pleased , but as far as mainstream matinee-style entertainment goes , it does a bang-up job of pleasing the crowds .

there 's no clear picture of who killed bob crane . but here 's a glimpse at his life .

for all its brilliant touches , dragon loses its fire midway , nearly flickering out by its perfunctory conclusion .

what could and should have been biting and droll is instead a tepid waste of time and talent .

a refreshingly honest and ultimately touching tale of the sort of people usually ignored in contemporary american film . search it out .

a strangely compelling and brilliantly acted psychological drama .

crikey indeed .

it further declares its director , zhang yang of shower , as a boldly experimental , contemporary stylist with a bright future .

a historical epic with the courage of its convictions about both scope and detail .

though avary has done his best to make something out of ellis ' nothing novel , in the end , his rules is barely worth following .

its characters are thinner than cardboard -- or even comic-book paper .

does n't deliver a great story , nor is the action as gripping as in past seagal films .

this enthralling documentary . . . is at once playful and haunting , an in-depth portrait of an iconoclastic artist who was fundamentally unknowable even to his closest friends .

. . . a boring parade of talking heads and technical gibberish that will do little to advance the linux cause .

tony gayton 's script does n't give us anything we have n't seen before , but director d . j . caruso 's grimy visual veneer and kilmer 's absorbing performance increase the gravitational pull considerably .

once ice-t sticks his mug in the window of the couple 's bmw and begins haranguing the wife in bad stage dialogue , all credibility flies out the window .

if it tried to do anything more , it would fail and perhaps explode , but at this level of manic whimsy , it is just about right .

broomfield turns his distinctive 'blundering ' style into something that could really help clear up the case .

a wild , endearing , masterful documentary .

leigh makes these lives count . and he allows a gawky actor like spall -- who could too easily become comic relief in any other film -- to reveal his impressively delicate range .

meanders between its powerful moments .

son of the bride may be a good half-hour too long but comes replete with a flattering sense of mystery and quietness .

. . . there 's a choppy , surface-effect feeling to the whole enterprise .

the screenplay , co-written by director imogen kimmel , lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .

by not averting his eyes , solondz forces us to consider the unthinkable , the unacceptable , the unmentionable .

every note rings false .

a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others .

while this one gets off with a good natured warning , future lizard endeavors will need to adhere more closely to the laws of laughter

between the drama of cube ? s personal revelations regarding what the shop means in the big picture , iconic characters gambol fluidly through the story , with charming results .

it is a testament of quiet endurance , of common concern , of reconciled survival .

suffers from rambling , repetitive dialogue and the visual drabness endemic to digital video .

a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion .

the best you can say about it is it 's so uninspired , it barely gives one pause when considering some of the other dreck out there right now .

a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters .

it 's loud and boring ; watching it is like being trapped at a bad rock concert .

despite its flaws , crazy as hell marks an encouraging new direction for la salle .

led by griffin 's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material .

faultlessly professional but finally slight .

there are moments in this account of the life of artist frida kahlo that are among cinema 's finest this year . unfortunately , they 're sandwiched in between the most impossibly dry account of kahlo 's life imaginable .

what you would end up with if you took orwell , bradbury , kafka , george lucas and the wachowski brothers and threw them into a blender . but that 's just the problem with it - the director has n't added enough of his own ingredients .

the sentimental script has problems , but the actors pick up the slack .

a solid cast , assured direction and complete lack of modern day irony .

unfortunately , it 's also not very good . especially compared with the television series that inspired the movie .

the dose is strong and funny , for the first 15 minutes anyway ; after that , the potency wanes dramatically .

a momentary escape from the summer heat and the sedentary doldrums that set in at this time of year .

meticulously mounted , exasperatingly well-behaved film , which ticks off kahlo 's lifetime milestones with the dutiful precision of a tax accountant .

k 19 stays afloat as decent drama/action flick

the bottom line , at least in my opinion , is imposter makes a better short story than it does a film .

it 's lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay .

the film is a contrivance , as artificial as the video games japanese teens play in a nightclub sequence , but it 's an enjoyable one .

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

less the sensational true-crime hell-jaunt purists might like and more experimental in its storytelling ( though no less horrifying for it ) .

i highly recommend irwin , but not in the way this film showcases him .

it lets you brush up against the humanity of a psycho , without making him any less psycho .

oozes condescension from every pore .

even when foreign directors . . . borrow stuff from hollywood , they invariably shake up the formula and make it more interesting .

flashy gadgets and whirling fight sequences may look cool , but they ca n't distract from the flawed support structure holding equilibrium up .

it 's a humble effort , but spiced with wry humor and genuine pathos , especially between morgan and redgrave .

until its final minutes this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity .

though excessively tiresome , the uncertainty principle , as verbally pretentious as the title may be , has its handful of redeeming features , as long as you discount its ability to bore .

each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteen conversations about one thing , for all its generosity and optimism , never resorts to easy feel-good sentiments .

an admirable , sometimes exceptional film

the characters are complex and quirky , but entirely believable as the remarkable ensemble cast brings them to life .

has a plot full of twists upon knots . . . and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill .

an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .

almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called 'the gift of tears . '

it 's like an old warner bros . costumer jived with sex -- this could be the movie errol flynn always wanted to make , though bette davis , cast as joan , would have killed him .

ultimately , the film amounts to being lectured to by tech-geeks , if you 're up for that sort of thing .

[ crystal and de niro ] manage to squeeze out some good laughs but not enough to make this silly con job sing .

this is the sort of low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .

the cold turkey would 've been a far better title .

[ schweiger is ] talented and terribly charismatic , qualities essential to both movie stars and social anarchists .