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to add the magic that made it all work

is just too easy to be genuinely satisfying

an object lesson in period filmmaking

air of gentle longing

while remaining one of the most savagely hilarious social critics this side of jonathan swift

though tom shadyac 's film kicks off spookily enough , around the halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .

the best comedy concert movie i 've seen since cho 's previous concert comedy film

than the screenplay , which lags badly in the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run

insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion .

is a career-defining revelation .

funny and fun

witty dialog between realistic characters

, why bother with a contemptible imitator starring a `` snl '' has-been acting like an 8-year-old channeling roberto benigni ?

the cast and crew thoroughly enjoyed themselves and believed in their small-budget film

doze off during this one

watch , giggle

a gorgeously atmospheric meditation on life-changing chance encounters

expands the horizons of boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape

all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad

buries an interesting storyline about morality and the choices we make underneath such a mountain of clichés and borrowed images that it might more accurately be titled mr. chips off the old block

baseball movies that try too hard to be mythic

nights feels more like a quickie tv special than a feature film

romantic , riveting and handsomely animated .

by its own pretentious self-examination

it is most of the things costner movies are known for ; it 's sanctimonious , self-righteous and so eager to earn our love that you want to slap it .

turmoil

long-faced sad sack

a flawed but engrossing thriller

a rude black comedy

pushing the jokes at the expense of character until things fall apart

christian love

douglas mcgrath 's nicholas nickleby does dickens as it should be done cinematically .

the remarkable ensemble cast brings them to life

the solid filmmaking and convincing characters makes this a high water mark for this genre .

understand what made allen 's romantic comedies so pertinent and enduring

marinated in clichés and mawkish dialogue .

sickeningly

strangely funny

the irksome , tiresome nature of complacency

a perfect medium

plays like a tired tyco ad .

while american adobo has its heart ( and its palate ) in the right place

sketchy characters and immature provocations can fully succeed at cheapening it .

if you have the patience for it , you wo n't feel like it 's wasted yours

a classy , sprightly spin on film .

is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes

makes the grade as tawdry trash .

hartley created a monster but did n't know how to handle it .

of extraordinary journalism

turns numbingly dull-witted and disquietingly creepy .

pill to swallow

's about as overbearing and over-the-top as the family it

dazzling , remarkably unpretentious reminder

is listless , witless , and devoid of anything resembling humor

too clear

are simply dazzling ,

raw urban humor

returns as a visionary with a tale full of nuance and character dimension

on a striking new significance for anyone who sees the film

you 're likely to see all year .

forages for audience sympathy like a temperamental child begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining .

a thoughtful what-if for the heart as well as the mind

tells a story whose restatement is validated by the changing composition of the nation .

the funny bone

a film really has to be exceptional to justify a three hour running time ,

bad taste

the only young people who possibly will enjoy it

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

career - kids = misery )

a bad premise , just

nothing more or less than an outright bodice-ripper

recite some of this laughable dialogue

mandy moore leaves a positive impression

it 's a mystery how the movie could be released in this condition .

the refugees able to look ahead and resist living in a past

the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon

more attuned to the anarchist maxim that ` the urge to destroy is also a creative urge '

laughs are lacking

for easy , seductive pacing

in this elegant entertainment

too good to be bad

a lot of warmth

, every once in a while a film arrives from the margin that gives viewers a chance to learn , to grow , to travel .

christopher walken kinda romanced cyndi lauper in the opportunists

a vibrant and intoxicating fashion

'll be wistful for the testosterone-charged wizardry of jerry bruckheimer productions , especially because half past dead is like the rock on a wal-mart budget .

big-budget/all-star movie

meaningless

that it 's almost worth seeing because it 's so bad

is as consistently engaging as it is revealing

portray themselves

, ( goldbacher ) just lets her complicated characters be unruly , confusing and , through it all , human .

to really care

take a complete moron to foul up a screen adaptation of oscar wilde 's classic satire

same old garbage

the near-fatal mistake of being what the english call ` too clever by half

but filmmaker yvan attal quickly writes himself into a corner

a passion for the material

is a fascinating little tale .

skip this dreck , rent animal house