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one feels the dimming of a certain ambition , but in its place a sweetness , clarity and emotional openness that recalls the classics of early italian neorealism .

an instant candidate for worst movie of the year .

secretary manages a neat trick , bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie .

something must have been lost in the translation .

without shakespeare's eloquent language , the update is dreary and sluggish .

if you've the patience , there are great rewards here .

even if it made its original release date last fall , it would've reeked of a been-there , done-that sameness .

it's hard to imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb .

this goofy gangster yarn never really elevates itself from being yet another earnestly generic crime-busting comic vehicle -- a well-intentioned remake that shows some spunk and promise but fails to register as anything distinctive or daring

its plot and animation offer daytime tv serviceability , but little more .

it's not without its pleasures , but i'll stick with the tune .

it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .

. . . the kind of entertainment that parents love to have their kids see .

the movie attempts to mine laughs from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches isn't exactly endearing .

jolting into charleston rhythms , the story has the sizzle of old news that has finally found the right vent ( accurate ? who cares ? ) .

hip-hop has a history , and it's a metaphor for this love story .

this franchise has not spawned a single good film . the crap continues .

if the very concept makes you nervous . . . you'll have an idea of the film's creepy , scary effectiveness .

keenly observed and refreshingly natural , swimming gets the details right , from its promenade of barely clad bodies in myrtle beach , s . c . , to the adrenaline jolt of a sudden lunch rush at the diner .

without resorting to hyperbole , i can state that kissing jessica stein may be the best same-sex romance i have seen .

human nature talks the talk , but it fails to walk the silly walk that distinguishes the merely quirky from the surreal .

a whole lot foul , freaky and funny .

cho's timing is priceless .

throwing it all away for the fleeting joys of love's brief moment .

this is historical filmmaking without the balm of right-thinking ideology , either liberal or conservative . mr . scorsese's bravery and integrity in advancing this vision can hardly be underestimated .

nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre .

hope keeps arising that the movie will live up to the apparent skills of its makers and the talents of its actors , but it doesn't .

on a certain base level , blue crush delivers what it promises , just not well enough to recommend it .

with lesser talents , high crimes would be entertaining , but forgettable . with freeman and judd , i'll at least remember their characters .

an entertaining british hybrid of comedy , caper thrills and quirky romance .

deliberately and devotedly constructed , far from heaven is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .

not only are the film's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this 'we're -doing-it-for -the-cash' sequel were .

stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .

[d]espite its familiar subject matter , ice age is consistently amusing and engrossing . . .

even if you feel like you've seen this movie a thousand times before , it is kind of enjoyable thanks mainly to belushi's easy-going likableness .

gives everyone something to shout about .

an effortlessly accomplished and richly resonant work .

all the pieces fall together without much surprise , but little moments give it a boost .

anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .

road to perdition does display greatness , and it's worth seeing . but it also comes with the laziness and arrogance of a thing that already knows it's won .

the film belongs to the marvelous verdu , a sexy slip of an earth mother who mourns her tragedies in private and embraces life in public

[it's] difficult to get beyond the overall blandness of american chai , despite its likable performances and refreshingly naive point of view .

a slick , skillful little horror film .

highly uneven and inconsistent . . . margarita happy hour kinda resembles the el cheapo margaritas served within .

russell lacks the visual panache , the comic touch , and perhaps the budget of sommers's title-bout features .

in the director's cut , the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes .

'no es la mejor cinta de la serie , ni la mejor con brosnan a la cabeza , pero de que entretiene ni duda cabe . '

a crisp psychological drama [and] a fascinating little thriller that would have been perfect for an old " twilight zone " episode .

the film's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .

this is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors .

a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks .

starts off witty and sophisticated and you want to love it -- but filmmaker yvan attal quickly writes himself into a corner .

the characters , cast in impossibly contrived situations , are totally estranged from reality .

it is one more celluloid testimonial to the cruelties experienced by southern blacks as distilled through a caucasian perspective .

the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .

the real triumphs in igby come from philippe , who makes oliver far more interesting than the character's lines would suggest , and sarandon , who couldn't be better as a cruel but weirdly likable wasp matron .

the story , once it gets rolling , is nothing short of a great one .

my oh my , is this an invigorating , electric movie .

a tired , predictable , bordering on offensive , waste of time , money and celluloid .

costner's warm-milk persona is just as ill-fitting as shadyac's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .

crush is so warm and fuzzy you might be able to forgive its mean-spirited second half .

more maudlin than sharp .

the low-budget full frontal was one of the year's murkiest , intentionally obscure and self-indulgent pictures , and solaris is its big-budget brother .

what a bewilderingly brilliant and entertaining movie this is .

a clutchy , indulgent and pretentious travelogue and diatribe against . . . well , just stuff . watching scarlet diva , one is poised for titillation , raw insight or both . instead , we just get messy anger , a movie as personal therapy .

the urban landscapes are detailed down to the signs on the kiosks , and the color palette , with lots of somber blues and pinks , is dreamy and evocative .

this is just lazy writing . even kids deserve better .

eccentric enough to stave off doldrums , caruso's self-conscious debut is also eminently forgettable .

although it lacks the detail of the book , the film does pack some serious suspense .

jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar .

remember the kind of movie we were hoping " ecks vs . sever " or " xxx " was going to be ? this is it .

a preposterous , prurient whodunit .

not too fancy , not too filling , not too fluffy , but definitely tasty and sweet .

the symbols float like butterflies and the spinning styx sting like bees . i wanted more .

at once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .

in other words , it's just another sports drama/character study . yet this one makes up for in heart what it lacks in outright newness . plus , like i already mentioned . . . it's robert duvall ! c'mon !

the fact is that the screen is most alive when it seems most likely that broomfield's interviewees , or even himself , will not be for much longer .

a beyond-lame satire , teddy bears' picnic ranks among the most pitiful directing debuts by an esteemed writer-actor .

it's hard to imagine anybody ever being " in the mood " to view a movie as harrowing and painful as the grey zone , but it's equally hard to imagine anybody being able to tear their eyes away from the screen once it's started .

i cry for i spy -- or i would if this latest and laziest imaginable of all vintage-tv spinoffs were capable of engendering an emotional response of any kind .

the film is so packed with subplots involving the various silbersteins that it feels more like the pilot episode of a tv series than a feature film .

this is a film living far too much in its own head .

an unusually dry-eyed , even analytical approach to material that is generally played for maximum moisture .

the movie is too impressed with its own solemn insights to work up much entertainment value .

a minor work yet there's no denying the potency of miller's strange , fleeting brew of hopeful perseverance and hopeless closure .

releasing a film with the word 'dog' in its title in january lends itself to easy jokes and insults , and snow dogs deserves every single one of them .

overly stylized with lots of flash black-&-white freeze frames reminiscent of a pseudo-hip luxury car commercial , ( it's ) at its worst when it's actually inside the ring .

'barbershop " is a good-hearted ensemble comedy with a variety of quirky characters and an engaging story .

me no lika da accents so good , but i thoroughly enjoyed the love story . scott baio is turning in some delightful work on indie projects .

however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .

ultimate x is a ride , basically the kind of greatest-hits reel that might come with a subscription to espn the magazine .

despite its floating narrative , this is a remarkably accessible and haunting film .

if high crimes were any more generic it would have a universal product code instead of a title .

nair doesn't use [monsoon wedding] to lament the loss of culture . instead , she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions .

as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .

austin powers in goldmember is a cinematic car wreck , a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride .

well made but uninvolving , bloodwork isn't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery .

fun and nimble .

even before it builds up to its insanely staged ballroom scene , in which 3000 actors appear in full regalia , it's waltzed itself into the art film pantheon .

arty gay film .