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an inconsistent , meandering , and sometimes dry plot
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insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing
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somewhat short
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if the film has a problem , its shortness disappoints : you want the story to go on and on
1
a formula comedy redeemed by its stars
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has just as many scenes that are lean and tough enough to fit in any modern action movie
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the movie is hardly a masterpiece
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look too deep into the story
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treads heavily
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is a movie that puts itself squarely in the service of the lovers who inhabit it .
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romp of a film .
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genteel and unsurprising the execution
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dishonest and
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's always these rehashes to feed to the younger generations
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, it 's pretty stupid .
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gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection .
1
has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .
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is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films
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come away from his film overwhelmed , hopeful and , perhaps paradoxically , illuminated .
1
in the new release of cinema paradiso , the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .
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though overall an overwhelmingly positive portrayal , the film does n't ignore the more problematic aspects of brown 's life .
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shatner is probably the funniest person in the film , which gives you an idea just how bad it was .
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could have been much stronger
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is silly beyond comprehension
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to face frightening late fees
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hokum but
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can smell the grease on the plot
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a poignant and compelling story about relationships , food of love takes us on a bumpy but satisfying journey of the heart .
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twohy knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record .
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is a sweet and modest and ultimately winning story .
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's such a mechanical endeavor ( that ) it never bothers to question why somebody might devote time to see it .
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could bond while watching a walk to remember .
1
watch your merchant ivory productions
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civil disobedience , anti-war movements and the power of strong voices
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even if you 've seen `` stomp '' ( the stage show ) , you still have to see this !
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there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but
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unassuming , subordinate
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, with increasingly amused irony , the relationship between reluctant captors and befuddled captives .
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is a diverting -- if predictable -- adventure suitable for a matinee , with a message that cautions children about disturbing the world 's delicate ecological balance .
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be exploring the idea of why human beings long for what they do n't have , and how this gets us in trouble
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will probably be in wedgie heaven .
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'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 .
1
there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .
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go see this delightful comedy
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got some good , organic character work , lots of obvious political insights and little room for engaging , imaginative filmmaking in its nearly 2 1/2 - hour , dissipated length .
1
to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
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'' succeeds due to its rapid-fire delivery and enough inspired levity that it ca n't be dismissed as mindless .
1
the only excitement comes when the credits finally roll and you get to leave the theater .
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captivates as it shows excess in business and pleasure , allowing us to find the small , human moments , and leaving off with a grand whimper .
1
, you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .
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the director 's many dodges and turns add up to little more than a screenful of gamesmanship that 's low on both suspense and payoff .
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to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny
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of clich茅s , depression and bad alternative music
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for most of its footage , the new thriller 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 .
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fill the hot chick , the latest gimmick from this unimaginative comedian
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a period story about a catholic boy who tries to help a jewish friend get into heaven by sending the audience straight to hell .
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whose sharp
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in this engaging film about two men who discover what william james once called ` the gift of tears
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the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining .
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offers no new insight on the matter , nor do its characters exactly spring to life .
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human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film
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fierce grandeur
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a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely
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capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries
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drag an audience
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it can not even be dubbed hedonistic
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this is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action .
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exceptionally
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takes a simple premise and carries it to unexpected heights .
1
is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender
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offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes
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furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation
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guide a loose , poorly structured film through the pitfalls of incoherence and redundancy
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a creepy , intermittently powerful study of a self-destructive man ... about as unsettling to watch as an exploratory medical procedure or an autopsy .
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that a man in drag is not in and of himself funny
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the line between sappy and sanguine
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does somehow manage to get you under its spell .
1
stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable .
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an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema
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a predictable outcome and
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has a wooden delivery and
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pay reparations to viewers
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ordinary
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laughs and insight into one of the toughest ages a kid can go through .
1
why not invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once ?
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hollywood has taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff .
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this oddly sweet comedy
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most savagely hilarious
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are lukewarm and quick to pass .
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it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .
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a fairly weak retooling
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to be something of a sitcom apparatus
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a funny and well-contructed black comedy where the old adage `` be careful what you wish for '' is given a full workout .
1
you drive past -- even if it chiefly inspires you to drive a little faster
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and , thanks to the presence of ` the king , ' it also rocks .
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perfectly pleasant if slightly pokey comedy
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the ways in which extravagant chance can distort our perspective and throw us off the path of good sense
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represents glossy hollywood at its laziest
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is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it
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thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film
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