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this is a film well worth seeing , talking and singing heads and all .

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dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee .

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it 's a glorious groove that leaves you wanting more .

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an enchanting spectacular for potter fans anxious to ride the hogwarts express toward a new year of magic and mischief .

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the film seems a dead weight .

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( i ) f you 've been to more than one indie flick in your life , chances are you 've already seen this kind of thing .

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an overstuffed compendium of teen-catholic-movie dogma .

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the movie makes absolutely no sense .

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when it 's on dry land , though , this surfer-girl melodrama starts gasping like a beached grouper .

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her film is unrelentingly claustrophobic and unpleasant .

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the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .

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guaranteed to move anyone who ever shook , rattled , or rolled .

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those who managed to avoid the deconstructionist theorizing of french philosopher jacques derrida in college can now take an 85-minute brush-up course with the documentary derrida .

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whatever eyre 's failings as a dramatist , he deserves credit for bringing audiences into this hard and bitter place .

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stay clear of reminding yourself that it 's a `` true story '' and you 're likely to have one helluva time at the movies .

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he just wants them to be part of the action , the wallpaper of his chosen reality .

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jolie 's performance vanishes somewhere between her hair and her lips .

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a strong first quarter , slightly less so second quarter , and average second half .

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once you get into its rhythm ... the movie becomes a heady experience .

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but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography .

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a sweet-natured reconsideration of one of san francisco 's most vital , if least widely recognized , creative fountainheads .

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a little too pat for its own good .

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even if britney spears is really cute , her movie is really bad .

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while benigni ( who stars and co-wrote ) seems to be having a wonderful time , he might be alone in that .

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the new guy does have a heart .

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led by griffin 's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material .

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this is as powerful a set of evidence as you 'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives .

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guided more by intellect than heart , his story flattens instead of sharpens .

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about as cutting-edge as pet rock : the movie .

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this idea has lost its originality ... and neither star appears very excited at rehashing what was basically a one-joke picture .

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a miniscule little bleep on the film radar , but one that many more people should check out

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the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear .

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it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come .

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cho 's fans are sure to be entertained ; it 's only fair in the interest of full disclosure to say that -- on the basis of this film alone -- i 'm not one of them .

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here 's a self-congratulatory 3d imax rah-rah .

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this is pretty dicey material .

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it will delight newcomers to the story and those who know it from bygone days .

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a blessed gift to film geeks and historians .

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that rara avis : the intelligent romantic comedy with actual ideas on its mind .

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never quite transcends jokester status ... and the punchline does n't live up to barry 's dead-eyed , perfectly chilled delivery .

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remember when bond had more glamour than clamor ?

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an uneven film dealing with too many problems to be taken seriously .

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leave these flowers unpicked -- they 're dead on the vine .

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

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audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film 's tart , sugar-free wit .

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almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent .

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the story may not be new , but australian director john polson , making his american feature debut , jazzes it up adroitly .

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k-19 may not hold a lot of water as a submarine epic , but it holds even less when it turns into an elegiacally soggy saving private ryanovich .

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the whole thing plays out with the drowsy heaviness of synchronized swimmer wearing a wool wetsuit .

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so lazy and slipshod it confuses the mere flashing of kinky soft-core imagery with naughty fun .

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unlike the nauseating fictions peddled by such ` have-yourself-a-happy-little-holocaust ' movies as life is beautiful and jakob the liar , the grey zone is honest enough to deny the possibility of hope in auschwitz .

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drags along in a dazed and enervated , drenched-in-the - past numbness .

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britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway .

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this may be the dumbest , sketchiest movie on record about an aspiring writer 's coming-of-age .

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steers turns in a snappy screenplay that curls at the edges ; it 's so clever you want to hate it .

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it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .

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julia is played with exasperating blandness by laura regan .

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extremely dumb .

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the production values are up there .

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perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .

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i complain all the time about seeing the same ideas repeated in films over and over again , but the bourne identity proves that a fresh take is always possible .

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a movie that , rather than skip along the seine , more or less slogs its way through soggy paris , tongue uncomfortably in cheek .

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an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood .

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it 's also the year 's sweetest movie .

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jagger the actor is someone you want to see again .

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the ill-conceived modern-day ending falls flat where it should deliver a moral punch .

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when the plot kicks in , the film loses credibility .

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ray liotta and jason patric do some of their best work in their underwritten roles , but do n't be fooled : nobody deserves any prizes here .

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for a shoot - 'em - up , ballistic is oddly lifeless .

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all i can say is fuhgeddaboutit .

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the film might have been more satisfying if it had , in fact , been fleshed out a little more instead of going for easy smiles .

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a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass .

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although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek 's polished direction pour delightfully piquant wine from aged bottles .

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( anderson ) uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense .

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anyone who can count to five ( the film 's target market ? )

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an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video .

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sadly , hewitt 's forte is leaning forward while wearing low-cut gowns , not making snappy comebacks .

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this version incarnates the prophetic book in a way even its exacting author might admire .

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the tug-of-war at the core of beijing bicycle becomes weighed down with agonizing contrivances , overheated pathos and long , wistful gazes .

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but in its child-centered , claustrophobic context , it can be just as frightening and disturbing -- even punishing .

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some of seagal 's action pictures are guilty pleasures , but this one is so formulaic that it seems to be on auto-pilot .

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time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets

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a triumph of art direction over narrative , but what art direction !

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the movie has an avalanche of eye-popping visual effects .

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not everything works , but the average is higher than in mary and most other recent comedies .

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though ganesh is successful in a midlevel sort of way , there 's nothing so striking or fascinating or metaphorically significant about his career as to rate two hours of our attention .

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a sports movie with action that 's exciting on the field and a story you care about off it .

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the result is solemn and horrifying , yet strangely detached .

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not a cozy or ingratiating work , but it 's challenging , sometimes clever , and always interesting , and those are reasons enough to see it .

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for me , this opera is n't a favorite , so it 's a long time before the fat lady sings .

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chicago is , in many ways , an admirable achievement .

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this is such a dazzlingly self-assured directorial debut that it 's hard to know what to praise first .

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excellent acting and direction .

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say this for the soundtrack , it drowns out the lousy dialogue .

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we get some truly unique character studies and a cross-section of americana that hollywood could n't possibly fictionalize and be believed .

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if your senses have n't been dulled by slasher films and gorefests , if you 're a connoisseur of psychological horror , this is your ticket .

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( a ) hollywood sheen bedevils the film from the very beginning ... ( but ) lohman 's moist , deeply emotional eyes shine through this bogus veneer ...

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a sensual performance from abbass buoys the flimsy story , but her inner journey is largely unexplored and we 're left wondering about this exotic-looking woman whose emotional depths are only hinted at .

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when ( de palma 's ) bad , he 's really bad , and femme fatale ranks with the worst he has done .

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as are its star , its attitude and its obliviousness .

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