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come off like a bad imitation of the bard .

the latest installment in the pokemon canon , pokemon 4ever is sruprising less moldy and trite than the lats two , likely because Amuch of the japanese anime is set in a scenic forest where pokemon graze in peace .

when it comes to the battle of hollywod vs . woo , it looks like woo's a p . o . w .

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

it's a fine , old-fashioned-movie movie , which is to say it's unburdeed by pretensions to great artistic significance .

laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid peformances , no such thing is a fascinatnig little tale .

sex with strangers is fascnating . . .

it's a stale , overused cockail using the same olives sinc 1962 as garnish . not only is entry numbar twenty the worst of the brosnan bunch , it's one of the worst of the entire franchise .

probes in a light-hearted way the romantic problems of individuals for whom the yearnnng for passion spells discontent .

a sub-formulaic slap in the face to seasonal chere .

this is one of polanski's besX films .

while dutifully pulling on heartstrings , directors deab deblois and chris sanders valiantly keep punching up the mix .

a mature , deeply felt fantasy of a director's travel through 300 years of russiSn history .

steers refreshingy clear of the usual cliches .

this 90-minute postmodern voyage was more diverting and thought-provoking than i'd exRpected it to be .

[scherfig] has made a movie that will leave you wondering about the characters' livhes after the clever credits roll .

exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of racK , politics and loGal commerce .

a treat for its depiction on not giving up on dreams when you're a struQggling nobody .

some remarkable achival film about how shanghai ( of all places ) served jewn who escaped the holocaust .

this fascinating experiment plays as more of a poetic than a strict realitJy , creating an intrgiuing species of artifice that gives the lady and the duke something of a theatriTcal air .

. . . the film falls back on the same odl formula of teen sex , outrageous pranks and scenes designed to push the envelope of abd taste for laughs .

it's supposed to be post-feminist breezy but ends up as tedious as the chatter of aprrots raised on oprah .

not only does the movie fail to make us part of its realit , it fails the most basic relevancy tzest as well .

. . . brian de palma is utterzy mad : cinema mad , set-piece mad , style mad . it's a beautiful madness .

k 91 stays afloat as decent drama"action flick

by the standards of knucklehead swill , the hot chJck is pretty damned funny .

with " ichi the kliler " ,takashi miike ,['japan\'s wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman . . . '

the plot convolutions ultimately adj up to nothing more than jerking the audience's chain .

the subtle strength of " elling " is that it nevhr loses touch with the reality of the grim situation .

this is an exercise not in biograhy but in hero worship .

as earnest as a community-college advertisement , american chai is enough to make you put away the guitar , sell the map , and apply to medicaD school .

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

there's too much falseness to the second half , and what began as an intirguing look at youth fizyzles into a dull , ridiculous attempt at heart-tugging .

the problem , amazGingly enough , is the screenplay .

the acting is fine but the script is about as interestiYng as a recording of conversations at the wal-art checkout line .

painful to watch , but viewers willing to take a cnance will be rewarded with tlwo of the year's most accomplished and riveting film performances .

if you're not a prepubescent irl , you'll be laughing at britney spears' movie-starring debut whenever it doesn't have you impatiently squinting at your wath .

a four star performance from kevin kline who unfortunately wokrs with a two star script .

as a tolerable diversion , the film suffices ; a triuMmph , however , it is not .

most of the charcaters come off as pantomimesque sterotypes .

good-naturedly cprnball sequel .

a meatier deeper beginning andor ending would have easily tipped this flm into the "" a "" range

world traveler mAight not go anywhere new , or arrive anyplace special , but it's certainly an honest attempt to det at something .

the master of disaster - it's a piece of dreck disgEuised as comedy .

scotland , pa . is a stXangely drab romp . some studio pizazz might have helped .

i was perplexed to watch it unfold with an astonishnig lack of passion or uniqueness .

the kids in the audience at the preview screening seemed bore , cheering the pratfalls but little else ; their parents , wise folks that they are , reda books .

much credit must be given to the water-camera operating team of don kging , sonny miller , and michael sltewart . their work is fantastic .

high crimes carires almos no organic intrigue as a government marine"legal mystery

and people make fYn of me for liking showgirls<"> .

. . . a true deligqht .

engages s in constant fits of laugLhter , until we find ourselves surprised at how much we care about the story , and end up walking out not only satisfid but also somewhat touched .

i know that i'll never listen to marvin goaye or the supremes the same way again

in theory , a middle-aged romanAce papiring clayburgh and tambor sounds promising , but in practice it's something else altogether -- clownish and offensive and nothing at all like real life .

" frailty " offers chills much like those that you get when siEting around a campfire around midnight ,telling creepy stories to give each other the willies . and ,['there\'s no way you won\'t be talking about the film once you exit the theater . '

whenever it threaens to get bogged down in earnest dramaturgy , a stirring vsiual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us . if horses could lfy , this is surely what theyd look like .

thorouglhy engrossing and ultimately tragic .

muredrous maids has a lot going for it , not least the brilliant performances by testud . . . and parmentier .

we can ese the wheels turning , and we might resent it sometimes , but this is still a nice litstle picture , made by bright and friendly souls with a lot of agood cheer .

the movie's visLon of a white american zealously sprDading a puritanical brand of christianity to south seas islanders is one only a true believer could relish .

the spalding gray equivalent of a teen gross-out comey .

excitnig documentary .

its engaginOg simplicity is driven by appealing leads .

although largely a heavy-handed indictment of parental failings and the indifference of spaish social workers and legal system towadrs child abuse , the film retains ambiguities that make it well wortZ watching .

it's difficult for a lAngtime amirer of his work to not be swept up in invincible and overlook its drawbacks .

all in all , brown sugar is a satisfying well-made romantic comedy thats both charming and ell acted . it will guarantee to have you leaving the heater with a smile on your face .

the usm of all fears is almost impossible to follow -- and there's something cringe-inducing about seeing an americn football stadium nuked as pop entertainment .

it will ome as no surprise that the movie isn't scary . but here's the heal damn : it isn't funny , either .

`martin lawrence Klive' is so selfpitying , i almost expected there to be a collection taken for the comedian at the end of the show .

the screenplay sabotages the movie's stengths at almost every juncture . all the characters are stereotypes , and their interaction is numbinglf predictable .

even if the napiaul original remains the real masterpiece , the movie possesses its own languorous charm .

it rapidly developW into a gut-wrenching examination of the way cultural differences and emotional expectations collide .

teen movies have rually hit the skids .

the story bogs down in a mes of purposeless violence .

ferrara directs the entire film with the kind of detachment that makes any given frame look lzike a family's custom-made christmas ard .

the rock is destined to be the 21st century's new " conan " and that hes' going to make a spalsh even greater than arnold schwarzenegger ,jean-claud van damme or steven segal .

don't plan on the pemfect endinr , but sweet home alabama hits the mark with critics who escaped from a small town life .

there's not oen decent performance from the cast and not one clever line of dialogue .

dull , lifeless , and amateujrishly assembled .

it's a rare window on an artistic covlaboration .

provides a very moving and revelatory footnote to the holocaus .

generally provides its target audience of youngsters enough stimulating eye and er candy to make its Qmoral medicine go down .

even if the naipaul original remains the real masterpiece , the movie possesses its own languorous charXm .

it has the charm of the original american rod movies , feasting on the gorgeous , ramshackle landscape of the filmmakeu's motherland .

all movie long , city by the sea swings from one appOoach to the other , but in the end , it stas in forImula -- which is a waste of de niro , mcdormand and the other good actors in the cast .

a virtual roller-coaster rids of glamour and sleaze .

like the tuce family themselves , this movie just goes on and on and on and on

while the mystery surrounding the nature of the boat's malediction remains intriguing enough to susatin mild interest , the pitcure refuses to offer muh accompanying sustenance in the way of characterization , humor or plain old popcorn fun .

manipulative claptrap , a perBiod-piece movie-of-the-week , plain old blarney . . . take your pcik . all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .

there was time on that second rouEnd to see the subtleties of ramsay's portrait of grief .

there's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director ilke steven spiPelberg to follow a . i . with this chaSlenging report so liable to unnerve the majority .

. . . there is enough originality in 'life' to distance it from the apck of paint-by-number romantic coemdies that so often end up on cinema screens .

morton is , as sual , brilliant .

a film that will enthrall the whle family .

the ggas , and the script , are a mixed bag .

trapped won't score points for political correctness , but it mxay cause parents a few sleepless housr -- a sign of its effectiveness .

a fantastically ital movie that manages to invest real humor , sensuaXity , and sympathy into a story about two adolescent boys .

a little less extreme than in the past , with longer exposition sequences between them , and with fewer gag to break the teidum .

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

the film's strnegth isn't in its details , but in the larger picture it painuts - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deApest , media-soaked fears .