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mark wahlberg . . . may look classy in a '60s-homage pokepie hat , but as a character he's dry , dry , dry .
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told in scattered fashion , the movie only intermittently lives up to the stories and faces and music of the men who are its subject .
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the irony is that this film's cast is uniformly superb ; their performances could have -- should have -- been allowed to stand on their own .
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now i can see why people thought i was too hard on " the mothman prophecies " .
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if ever a concept came handed down from the movie gods on a silver platter , this is it . if ever such a dependable concept was botched in execution , this is it .
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with an unusual protagonist ( a kilt-wearing jackson ) and subject matter , the improbable " formula 51 " is somewhat entertaining , but it could have been much stronger .
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sandra bullock's best dramatic performance to date ( is ) almost enough to lift ( this ) thrill-kill cat-and-mouser . . . above its paint-by-numbers plot .
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a feel-good movie that doesn't give you enough to feel good about .
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adolescents will be adequately served by the movie's sophomoric blend of shenanigans and slapstick , although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a 'topless tutorial service . '
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this mistaken-identity picture is so film-culture referential that the final product is a ghost .
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the picture emerges as a surprisingly anemic disappointment .
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de niro cries . you'll cry for your money back .
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slap me , i saw this movie .
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[the kid's] just too bratty for sympathy , and as the film grows to its finale , his little changes ring hollow .
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behind the glitz , hollywood is sordid and disgusting . quelle surprise !
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scherfig , who has had a successful career in tv , tackles more than she can handle .
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just consider what new best friend does not have , beginning with the minor omission of a screenplay .
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oscar caliber cast doesn't live up to material
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the problems of the people in love in the time of money are hardly specific to their era . they just have problems , which are neither original nor are presented in convincing way .
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carrying this wafer-thin movie on his nimble shoulders , chan wades through putrid writing , direction and timing with a smile that says , 'if i stay positive , maybe i can channel one of my greatest pictures , drunken master . '
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so putrid it is not worth the price of the match that should be used to burn every print of the film .
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in the end , the movie bogs down in insignificance , saying nothing about kennedy's assassination and revealing nothing about the pathology it pretends to investigate .
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starts out ballsy and stylish but fails to keep it up and settles into clichés .
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sometimes makes less sense than the bruckheimeresque american action flicks it emulates .
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one of those films where the characters inhabit that special annex of hell where adults behave like kids , children behave like adults and everyone screams at the top of their lungs no matter what the situation .
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there's only one way to kill michael myers for good : stop buying tickets to these movies .
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bland but harmless .
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'rare birds' tries to force its quirkiness upon the audience .
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the movie is about as humorous as watching your favorite pet get buried alive .
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resident evil is what comes from taking john carpenter's ghosts of mars and eliminating the beheadings . in other words , about as bad a film you're likely to see all year .
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five screenwriters are credited with the cliché-laden screenplay ; it seems as if each watered down the version of the one before .
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the whole thing comes off like a particularly amateurish episode of bewitched that takes place during spring break .
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well made but uninvolving , bloodwork isn't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery .
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so we got ten little indians meets friday the 13th by way of clean and sober , filmed on the set of carpenter's the thing and loaded with actors you're most likely to find on the next inevitable incarnation of the love boat .
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the movie's blatant derivativeness is one reason it's so lackluster .
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la de salma es una versión de frida superficial , preciosista y sin ningún contenido .
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kids don't mind crappy movies as much as adults , provided there's lots of cute animals and clumsy people . 'snow dogs' has both .
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it's almost as if it's an elaborate dare more than a full-blooded film .
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wobbly senegalese updating of " carmen " which is best for the stunning star turn by djeinaba diop gai
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it's the humanizing stuff that will probably sink the film for anyone who doesn't think about percentages all day long .
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ken russell would love this . in one scene , we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino's climactic shootout — and meat loaf explodes .
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bella is the picture of health with boundless energy until a few days before she dies . this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .
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the premise of " abandon " holds promise , . . . but its delivery is a complete mess .
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what could have been a pointed little chiller about the frightening seductiveness of new technology loses faith in its own viability and succumbs to joyless special-effects excess .
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a little too ponderous to work as shallow entertainment , not remotely incisive enough to qualify as drama , monsoon wedding serves mostly to whet one's appetite for the bollywood films .
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unless bob crane is someone of particular interest to you , this film's impressive performances and adept direction aren't likely to leave a lasting impression .
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the rock has a great presence but one battle after another is not the same as one battle followed by killer cgi effects .
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the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted needn't waste their time on it .
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the lousy john q all but spits out denzel washington's fine performance in the title role .
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the whole thing feels like a ruse , a tactic to cover up the fact that the picture is constructed around a core of flimsy -- or , worse yet , nonexistent -- ideas .
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what a stiflingly unfunny and unoriginal mess this is !
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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 .
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opera on film is never satisfactory . the art demands live viewing . the innate theatrics that provide its thrills and extreme emotions lose their luster when flattened onscreen .
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despite all the closed-door hanky-panky , the film is essentially juiceless .
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it is parochial , accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
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the sweetest thing leaves an awful sour taste .
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it's lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay .
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terminally bland , painfully slow and needlessly confusing . . . the movie , shot on digital videotape rather than film , is frequently indecipherable .
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as dumb and cheesy as they may be , the cartoons look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy .
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aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .
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a low-rent retread of the alien pictures .
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serviceable at best , slightly less than serviceable at worst .
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its initial excitement settles into a warmed over pastiche .
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a big meal of cliches that the talented cast generally chokes on .
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the story has little wit and no surprises .
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the merchant-ivory team continues to systematically destroy everything we hold dear about cinema , only now it's begun to split up so that it can do even more damage .
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what should have been a cutting hollywood satire is instead about as fresh as last week's issue of variety .
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hey everybody , wanna watch a movie in which a guy dressed as a children's party clown gets violently gang-raped ? i didn't think so .
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a little more intensity and a little less charm would have saved this film a world of hurt .
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dense and enigmatic . . . elusive . . . stagy and stilted
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[t]his slop doesn't even have potential as a cult film , as it's too loud to shout insults at the screen .
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the movie's plot is almost entirely witless and inane , carrying every gag two or three times beyond its limit to sustain a laugh .
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. . . may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence . this scarlet's letter is a . . . as in aimless , arduous , and arbitrary .
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plays like a glossy melodrama that occasionally verges on camp .
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the central character isn't complex enough to hold our interest .
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a modestly comic , modestly action-oriented world war ii adventure that , in terms of authenticity , is one of those films that requires the enemy to never shoot straight .
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a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks .
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just about all of the film is confusing on one level or another , making ararat far more demanding than it needs to be .
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a little less extreme than in the past , with longer exposition sequences between them , and with fewer gags to break the tedium .
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there's a heavy stench of 'been there , done that' hanging over the film . it's everything you'd expect -- but nothing more .
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the biggest problem with satin rouge is lilia herself . she's a cipher , played by an actress who smiles and frowns but doesn't reveal an inner life .
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a quaint , romanticized rendering .
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what with the incessant lounge music playing in the film's background , you may mistake love liza for an adam sandler chanukah song .
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the movie's heavy-handed screenplay navigates a fast fade into pomposity and pretentiousness .
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a potentially good comic premise and excellent cast are terribly wasted .
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woody allen used to ridicule movies like hollywood ending . now he makes them .
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she's not yet an actress , not quite a singer . . .
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not a bad premise , but the execution is lackluster at best .
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been there done that .
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there is only so much baked cardboard i need to chew .
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a movie like the guys is why film criticism can be considered work .
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schnitzler's film has a great hook , some clever bits and well-drawn , if standard issue , characters , but is still only partly satisfying .
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even if it made its original release date last fall , it would've reeked of a been-there , done-that sameness .
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only two-fifths of a satisfying movie experience .
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a loud , ugly , irritating movie without any of its satirical salvos hitting a discernible target .
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[l]ame and unnecessary .
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a movie version of a paint-by-numbers picture . we can tell what it is supposed to be , but can't really call it a work of art .
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it's a brilliant , honest performance by nicholson , but the film is an agonizing bore except when the fantastic kathy bates turns up . bravado kathy !
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. . . liotta is put in an impossible spot because his character's deceptions ultimately undo him and the believability of the entire scenario . too bad .
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you can thank me for this . i saw juwanna mann so you don't have to .
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