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an elegant , exquisitely modulated psychological thriller .

as aimless as an old pickup skidding completely out of control on a long patch of black ice , the movie makes two hours feel like four .

instead of hitting the audience over the head with a moral , schrader relies on subtle ironies and visual devices to convey point of view .

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 .

full of witless jokes , dealing in broad stereotypes and outrageously unbelievable scenarios , and saddled with a general air of misogyny

coupling disgracefully written dialogue with flailing bodily movements that substitute for acting , circuit is the awkwardly paced soap opera-ish story .

it isn't that stealing harvard is a horrible movie—if only it were that grand a failure ! it's just that it's so not-at-all-good . and i expect much more from a talent as outstanding as director bruce mcculloch .

like a soft drink that's been sitting open too long : it's too much syrup and not enough fizz .

what's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly engage you .

tries to add some spice to its quirky sentiments but the taste is all too familiar .

it's all about anakin . . . and the lustrous polished visuals rich in color and creativity and , of course , special effect .

too daft by half . . . but supremely good natured .

wanders all over the map thematically and stylistically , and borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own .

hip-hop rarely comes alive as its own fire-breathing entity in this picture .

a romantic comedy enriched by a sharp eye for manners and mores .

it's not just a feel-good movie , it's a feel movie . you feel good , you feel sad , you feel pissed off , but in the end , you feel alive - which is what they did .

mildly entertaining .

ryan gosling . . . is at 22 a powerful young actor .

quando tiros em columbine acerta o alvo ( com o perdão do trocadilho ) , não há como negar o brilhantismo da argumentação de seu diretor .

cox offers plenty of glimpses at existing photos , but there are no movies of nijinsky , so instead the director treats us to an aimless hodgepodge .

the film is predictable in the reassuring manner of a beautifully sung holiday carol .

in its own floundering way , it gets to you . just like igby .

if you're not fans of the adventues of steve and terri , you should avoid this like the dreaded king brown snake . personally , i'd rather watch them on the animal planet .

bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy !

nettelbeck . . . has a pleasing way with a metaphor .

get out your pooper-scoopers .

shyamalan offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes .

a tired , unnecessary retread . . . a stale copy of a picture that wasn't all that great to begin with .

ultimately the , yes , snail-like pacing and lack of thematic resonance make the film more silly than scary , like some sort of martha stewart decorating program run amok .

while certainly more naturalistic than its australian counterpart , amari's film falls short in building the drama of lilia's journey .

the volatile dynamics of female friendship is the subject of this unhurried , low-key film that is so off-hollywood that it seems positively french in its rhythms and resonance .

a cinematic sleeping pill of impressive potency .

on the bright side , it contains jesse ventura's best work since the xfl .

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 .

an occasionally interesting but mostly repetitive look at a slice of counterculture that might be best forgotten .

a sly game of cat and mouse that's intense and thrilling at times , but occasionally stretches believability to its limits and relies on predictable plot contrivances .

walter hill's pulpy , stylized boxing melodrama undisputed nearly overcomes its questionable in-the-ring match-up with solid fight choreography and gritty prison authenticity .

the sum of all fears is remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots ( or cinema seats ) .

. . . a weak and ineffective ghost story without a conclusion or pay off .

bittersweet comedy/drama full of life , hand gestures , and some really adorable italian guys .

[there's] quite a bit of heart , as you would expect from the directors of the little mermaid and aladdin .

while this movie , by necessity , lacks fellowship's heart , two towers outdoes its spectacle .

one of the best of a growing strain of daring films . . . that argue that any sexual relationship that doesn't hurt anyone and works for its participants is a relationship that is worthy of our respect .

faithful without being forceful , sad without being shrill , " a walk to remember " succeeds through sincerity .

there are simply too many ideas floating around -- part farce , part sliding doors , part pop video -- and yet failing to exploit them .

in the end , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .

y tu mamá también es un buen filme gracias a lo poco convencional de su narrativa , y es quizá el proyecto más arriesgado en la carrera de alfonso cuarón

sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man's ruin may be another's fortune .

there ought to be a directing license , so that ed burns can have his revoked .

what is 100% missing here is a script of even the most elemental literacy , an inkling of genuine wit , and anything resembling acting .

" white oleander , " the movie , is akin to a reader's digest condensed version of the source material .

it's a lovely , eerie film that casts an odd , rapt spell .

the emotions are raw and will strike a nerve with anyone who's ever had family trauma .

" extreme ops " exceeds expectations . good fun , good action , good acting , good dialogue , good pace , good cinematography .

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

a thoroughly engaging , surprisingly touching british comedy .

[villeneuve] seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death .

a tasty masala .

no wonder they're talking about " talk to her . " it's astonishing .

heartwarming and gently comic even as the film breaks your heart .

thanks to ice cube , benjamins feels an awful lot like friday in miami .

wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time .

spiderman rocks

sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .

a weird and wonderful comedy .

the film's unhurried pace is actually one of its strengths . entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .

when it really counts . . . bloody sunday connects on a visceral level that transcends language .

i have a new favorite musical -- and i'm not even a fan of the genre

an ambitious , guilt-suffused melodrama crippled by poor casting .

feels like one of those contrived , only-in -hollywood productions where name actors deliver big performances created for the sole purpose of generating oscar talk .

by halfway through this picture i was beginning to hate it , and , of course , feeling guilty for it . . . . then , miracle of miracles , the movie does a flip-flop .

schmaltzy and unfunny , adam sandler's cartoon about hanukkah is numbingly bad , little nicky bad , 10 worst list bad .

an intriguing and entertaining introduction to johnson .

a violent initiation rite for the audience , as much as it is for angelique , the [opening] dance guarantees karmen's enthronement among the cinema's memorable women .

. . . irritating soul-searching garbage .

stephen rea , aidan quinn , and alan bates play desmond's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , 'tis .

'divertida , enternecedora , universal y profundamente sincera , es una de las mejores comedias románticas en mucho tiempo . una verdadera delicia . '

murder by numbers just doesn't add up .

take away all the cliches and the carbon copy scenes from every drug movie we've seen and all you have left are john leguizamo's cool jackets .

the final result makes for adequate entertainment , i suppose , but anyone who has seen chicago on stage will leave the theater feeling they've watched nothing but a pale imitation of the real deal .

exactly what it claims to be -- a simple diversion for the kids .

the diversity of the artists represented , both in terms of style and ethnicity , prevents the proceedings from feeling repetitious , as does the appropriately brief 40-minute running time .

solondz is so intent on hammering home his message that he forgets to make it entertaining .

content merely to lionize its title character and exploit his anger - all for easy sanctimony , formulaic thrills and a ham-fisted sermon on the need for national health insurance .

howard and his co-stars all give committed performances , but they're often undone by howard's self-conscious attempts to find a 'literary' filmmaking style to match his subject .

as it stands , there's some fine sex onscreen , and some tense arguing , but not a whole lot more .

the film starts out as competent but unremarkable . . . and gradually grows into something of considerable power .

a behind the scenes look at the training and dedication that goes into becoming a world-class fencer and the champion that's made a difference to nyc inner-city youth .

one of the most highly-praised disappointments i've had the misfortune to watch in quite some time .

it's plotless , shapeless -- and yet , it must be admitted , not entirely humorless . indeed , the more outrageous bits achieve a shock-you-into-laughter intensity of almost dadaist proportions .

a great ensemble cast can't lift this heartfelt enterprise out of the familiar .

the animation and game phenomenon that peaked about three years ago is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication .

now as a former gong show addict , i'll admit it , my only complaint is that we didn't get more re-creations of all those famous moments from the show .

[a] slummer .

highly recommended viewing for its courage , ideas , technical proficiency and great acting .

the only thing in pauline and paulette that you haven't seen before is a scene featuring a football field-sized oriental rug crafted out of millions of vibrant flowers .

the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .

more concerned with sade's ideas than with his actions . the movie achieves as great an impact by keeping these thoughts hidden as . . . [quills] did by showing them .

art-house to the core , read my lips is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema .

this orange has some juice , but it's far from fresh-squeezed .