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told in scattered fashion

takes chances that are bold by studio standards

believe it or not , jason actually takes a backseat in his own film to special effects

only thing to fear about `` fear dot com ''

whole mess

manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor

working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .

a résumé loaded with credits like `` girl in bar # 3

enjoy the ride

very little to add beyond the dark visions already relayed by superb recent predecessors

the , yes , snail-like pacing

an extremely unpleasant film .

if it is n't entirely persuasive , it does give exposure to some talented performers

the whole affair , true story or not , feels incredibly hokey ...

are all things we 've seen before

poignant and leavened

breathless anticipation

significantly better

as predictable as the tides

bewilderingly brilliant and entertaining

it 's smooth and professional

, unassuming , subordinate

the horror

a technically superb film

the positive change in tone here seems to have recharged him .

pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators

a dim

, vicious and absurd

because he acts so goofy all the time

to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside

's at once laughable and compulsively watchable ,

merit its 103-minute length

the value and respect for the term epic cinema

as a dentist 's waiting room

showing honest emotions

amazingly lame .

confessions may not be a straightforward bio

seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little

the story is bogus and

this comic gem is as delightful as it is derivative .

to spare wildlife

ugly as the shabby digital photography

understand the difference between dumb fun and just plain dumb

traditionally structured

frida is n't that much different from many a hollywood romance .

does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .

are worth the price of admission ... if `` gory mayhem '' is your idea of a good time

was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one )

carnage and

degraded , handheld blair witch video-cam footage

second fiddle

about the folly of superficiality that is itself

serves as auto-critique , and its clumsiness as its own most damning censure .

tedious norwegian offering which somehow snagged an oscar nomination .

, esther kahn is unusual but unfortunately also irritating .

a stylish exercise

halfway through this picture i was beginning to hate it

a setup so easy it borders on facile

a thoroughly awful movie

takes hold and grips hard

look smeary and blurry , to the point of distraction

the picture 's fascinating byways

guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves

breezy , distracted rhythms

than this mess

evanescent , seamless and sumptuous stream

slick and manufactured to claim street credibility .

take care is nicely performed by a quintet of actresses ,

valuable messages

in no small part thanks to lau

two guys who desperately want to be quentin tarantino when they grow up

no new plot conceptions

essentially a collection of bits --

does n't bode well for the rest of it

elevated by it -- the kind of movie

usual worst

hugh grant , who has a good line in charm

arrive early and stay late

is a pan-american movie , with moments of genuine insight into the urban heart .

i could have used my two hours better watching being john malkovich again .

shot in artful , watery tones of blue , green and brown

an unorthodox little film noir organized crime story that includes one of the strangest

considerable aplomb

acted by diane lane and richard gere .

scant

an admittedly middling film

too ludicrous

the rock 's fighting skills are more in line with steven seagal

rich and full

warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .

that uses a sensational , real-life 19th-century crime as a metaphor for

, home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .

, the film retains ambiguities that make it well worth watching .

ultra-cheesy dialogue

added depth and resonance

the sensational

huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them

handsome but unfulfilling suspense drama

's not very good either .

in her most charmless