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Leigh isn't breaking new ground, but he knows how a daily grind can kill love.

The Master of Disguise represents Adam Sandler's latest attempt to dumb down the universe.

I can't say this enough: This movie is about an adult male dressed in pink jammies.

(A) boldly stroked, luridly coloured, uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain.

Once one experiences Mr. Haneke's own sadistic tendencies toward his audience, one is left with a sour taste in one's mouth, and little else.

With so many bad romances out there, this is the kind of movie that deserves a chance to shine.

About Schmidt is undoubtedly one of the finest films of the year.

It doesn't reach them, but the effort is gratefully received.

- I also wanted a little alien as a friend!

The work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them.

For this sort of thing to work, we need agile performers, but the proficient, dull Sorvino has no light touch, and Rodan is out of his league.

Juliette Binoche's Sand is vivacious, but it's hard to sense that powerhouse of 19th-century prose behind her childlike smile.

Most of the storylines feel like time fillers between surf shots.

A powerful performance from Mel Gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an M-16.

Woody Allen has really found his groove these days.

The screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a "Dungeons and Dragons" fantasy with modern military weaponry...

Delirious fun.

What might have been acceptable on the printed page of Iles' book does not translate well to the screen.

Ice Cube isn't quite out of ripe screwball ideas, but Friday After Next spreads them pretty thin.

Director David Fincher and writer David Koepp can't sustain it.

McKay shows crushingly little curiosity about, or is ill-equipped to examine, the interior lives of the characters in his film, much less incorporate them into his narrative.

What lifts the film high above run-of-the-filth gangster flicks is its refusal to recognise any of the signposts, as if discovering a way through to the bitter end without a map.

It gets the details of its time frame right but it completely misses its emotions.

Entirely appropriately, the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn.

What we have is a character faced with the possibility that her life is meaningless, vapid and devoid of substance, in a movie that is definitely meaningless, vapid and devoid of substance.

With a cast of A-list Brit actors, it is worth searching out.

It's refreshing that someone understands the need for the bad boy; Diesel, with his brawny frame and cool, composed delivery, fits the bill perfectly.

For all of its insights into the dream world of teen life, and its electronic expression through cyber culture, the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2-hour running time.

With flashbulb editing as cover for the absence of narrative continuity, Undisputed is nearly incoherent, an excuse to get to the closing bout ... by which time it's impossible to care who wins.

Clooney directs this film always keeping the balance between the fantastic and the believable...

Happy Times maintains an appealing veneer without becoming too cute about it.

TV skit-com material fervently deposited on the big screen.

A compelling film.

The film's unhurried pace is actually one of its strengths.

It certainly won't win any awards in the plot department but it sets out with no pretensions and delivers big time.

Most of the things that made the original Men in Black such a pleasure are still there.

Cold, Sterile And Lacking Any Color Or Warmth.

A 'Girls Gone Wild' video for the boho art-house crowd, The Burning Sensation isn't a definitive counter-cultural document -- its makers aren't removed and inquisitive enough for that.

... The movie feels stitched together from stock situations and characters from other movies.

With an obvious rapport with her actors and a striking style behind the camera, Hélène Angel is definitely a director to watch.

A deft, delightful mix of sulky teen drama and overcoming-obstacles sports-movie triumph.

Men in Black II achieves ultimate insignificance -- it's the sci-fi comedy spectacle as Whiffle-Ball epic.

There's nothing to gain from watching They.

Debut effort by "Project Greenlight" winner is sappy and amateurish.

Your 20th outing shows off a lot of stamina and vitality, and get this, Madonna's cameo doesn't suck!

An absurdist spider web.

A journey that is as difficult for the audience to take as it is for the protagonist -- yet it's potentially just as rewarding.

Rather less than the sum of its underventilated père-fils confrontations.

An entertaining documentary that freshly considers arguments the Bard's immortal plays were written by somebody else.

Stay away.

contrasting the original Ringu with the current Americanized adaptation is akin to comparing The Evil Dead with Evil Dead II

Skip this dreck, rent Animal House and go back to the source.

Beautifully filmed and well acted... but admittedly problematic in its narrative specifics.

If you're burnt out on It's a Wonderful Life marathons and bored with A Christmas Carol, it might just be the movie you're looking for.

The film's highlight is definitely its screenplay, both for the rhapsodic dialogue that jumps off the page, and for the memorable character creations.

The movie, like Bartleby, is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes.

It's sort of a 21st century morality play with a Latino hip hop beat.

Shouldn't have been allowed to use the word "new" in its title, because there's not an original character, siuation or joke in the entire movie.

Decent but dull.

Get out your pooper-scoopers.

Humor in I Spy is so anemic.

At least it's a fairly impressive debut from the director, Charles Stone III.

Try as you might to resist, if you've got a place in your heart for Smokey Robinson, this movie will worm its way there.

If the film has a problem, its shortness disappoints: You want the story to go on and on.

There's not a fresh idea at the core of this tale.

This film is so different from The Apple and so striking that it can only encourage us to see Samira Makhmalbaf as a very distinctive sensibility, working to develop her own film language with conspicuous success.

This is a movie where the most notable observation is how long you've been sitting still.

Technically and artistically inept.

...overly melodramatic...

Trouble Every Day is a success in some sense, but it's hard to like a film so cold and dead.

...stumbles over every cheap trick in the book trying to make the outrage come even easier.

In all the annals of the movies, few films have been this odd, inexplicable and unpleasant.

Allen's funniest and most likeable movie in years.

Highly uneven and inconsistent ... Margarita Happy Hour kinda resembles the el cheapo margaritas served within.

The effort is sincere and the results are honest, but the film is so bleak that it's hardly watchable.

The scriptwriters are no less a menace to society than the film's characters.

A big-budget/all-star movie as unblinkingly pure as The Hours is a distinct rarity, and an event.

An enormously entertaining movie, like nothing we've ever seen before, and yet completely familiar.

Even as the hero of the story rediscovers his passion in life, the mood remains oddly detached.

Deepa Mehta provides an accessible introduction as well as some intelligent observations on the success of Bollywood in the Western world.

A cheap scam put together by some cynical creeps at Revolution Studios and Imagine Entertainment to make the suckers out there surrender $9 and 93 minutes of unrecoverable life.

Not once does it come close to being exciting.

It's a hellish, numbing experience to watch, and it doesn't offer any insights that haven't been thoroughly debated in the media already, back in the Dahmer heyday of the mid-'90s.

The film is hampered by its predictable plot and paper-thin supporting characters.

...standard guns versus martial arts cliche with little new added.

A noble failure.

Much of what we see is horrible but it's also undeniably exceedingly clever.

There's not a comedic moment in this romantic comedy.

Any rock pile will do for a set.

The hook is the drama within the drama, as an unsolved murder and an unresolved moral conflict jockey for the spotlight.

A muddle splashed with bloody beauty as vivid as any Scorsese has ever given us.

Marinated in clichés and mawkish dialogue.

This movie, a certain scene in particular, brought me uncomfortably close to losing my lunch.

In addition to gluing you to the edge of your seat, Changing Lanes is also a film of freshness, imagination and insight.

In the end, the film feels homogenized and a bit contrived, as if we're looking back at a tattered and ugly past with rose-tinted glasses.

While the frequent allusions to gurus and doshas will strike some Westerners as verging on mumbo-jumbo ... broad streaks of common sense emerge with unimpeachable clarity.

The movie is hardly a masterpiece, but it does mark Ms. Bullock's best work in some time.

Unless you come in to the film with a skateboard under your arm, you're going to feel like you weren't invited to the party.

An energetic and engaging film that never pretends to be something it isn't.

A compelling story of musical passion against governmental odds.