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discomfort

you never want to see another car chase , explosion or gunfight again

totally overwrought ,

sunny disposition

excellent use of music by india 's popular gulzar and jagjit singh

makes a joke out of car chases for an hour and then gives us half an hour of car chases .

awfulness

ably captures the complicated relationships in a marching band .

lax and limp

wisdom

a paint-by-numbers picture

does a solid job of slowly , steadily building up to the climactic burst of violence

through this summer that do not involve a dentist drill

i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign

nights feels more like a quickie tv special than a feature film ...

is a winning comedy that excites the imagination and tickles the funny bone

is so resolutely

hilariously , gloriously alive , and

drawn-out

true to its title

glory days

and often contradictory

a stereotype

puts a human face

every moment crackles with tension , and by the end of the flick , you 're on the edge of your seat

, then by all means check it out .

while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast ... have made the old boy 's characters more quick-witted than any english lit

sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .

too thin

sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and

wondering what all that jazz was about `` chicago '' in 2002

as a tribute

a brilliant college student -- where 's pauly shore as the rocket scientist ?

of the conflict that came to define a generation

richly entertaining and suggestive of any number of metaphorical readings .

will be moved to the edge of their seats by the dynamic first act

bump in the night and nobody

has created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores .

this painfully unfunny farce traffics in tired stereotypes and encumbers itself with complications ...

, the movie contains no wit , only labored gags .

that are quite touching

i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed .

graceless

that annoying specimen

two central performances

' hanging over the film

it takes a sudden turn and devolves into a bizarre sort of romantic comedy

are all in the performances , from foreman 's barking-mad taylor to thewlis 's smoothly sinister freddie and bettany/mcdowell 's hard-eyed gangster .

affluence

really , save your disgust and your indifference

five screenwriters are credited with the cliché-laden screenplay

joyous

gets us too drunk on the party favors to sober us up with the transparent attempts at moralizing .

then blood work is for you .

, frida gets the job done .

the class warfare

against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting

a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years

may rate as the most magical and most fun family fare of this or any recent holiday season

their contrast is neither dramatic nor comic -- it 's just a weird fizzle .

lacks in eye-popping visuals

ability to pull together easily accessible stories that resonate with profundity

an equally miserable film

its heartfelt concern about north korea 's recent past and south korea 's future

so pat it makes your teeth hurt

a delightful entree in the tradition of food movies .

splash

of gags that rely on the strength of their own cleverness

both the scenic splendor

i saw it as a young boy

wildly incompetent but brilliantly named half past dead -- or for seagal pessimists :

you may be captivated , as i was , by its moods , and by its subtly transformed star , and still wonder why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear .

a chilling tale of one of the great crimes

starts out

the situation in a well-balanced fashion

which was shot two years ago

becomes something about how lame it is to try and evade your responsibilities

will keep coming

you 'd be hard put to find a movie character more unattractive or odorous ( than leon ) .

proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .

where this was lazy but enjoyable , a formula comedy redeemed by its stars , that is even lazier and far less enjoyable .

a total lack

a hallmark film in an increasingly important film industry and worth the look

the company 's astonishing growth

of afghan tragedies

languorous slo-mo sequences

's characteristically startling visual style and an almost palpable sense of intensity .

is a masterpiece of elegant wit and artifice .

offers a guilt-free trip into feel-good territory .

picture-perfect life

master class .

junior-high

finds amusing juxtapositions that justify his exercise .

rigid and evasive in ways

billy crystal and robert de niro sleepwalk through vulgarities in a sequel you can refuse .

a fine-looking film with a bouncy score

promisingly

the entire movie is in need of a scented bath .

weirdo actor crispin glover

takes its title all too literally .