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dreary expanse
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of true inspiration
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is the superficial way it deals with its story
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director tom dey demonstrated a knack for mixing action and idiosyncratic humor in his charming 2000 debut shanghai noon , but showtime 's uninspired send-up of tv cop show cliches mostly leaves him shooting blanks .
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offers flickering reminders of the ties that bind us
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two weeks notice has appeal beyond being a sandra bullock vehicle or a standard romantic comedy .
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the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated , and
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frozen tundra soap opera
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delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion
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with bogus profundities
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enjoyed the love story
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's a testament to de niro and director michael caton-jones that by movie 's end , we accept the characters and the film , flaws and all .
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could possibly be more contemptuous of the single female population
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lonely and needy
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as part of mr. dong 's continuing exploration of homosexuality in america , family fundamentals is an earnest study in despair .
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a single iota worse
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promise
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( denis ) accomplishes in his chilling , unnerving film
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's surprisingly bland despite the heavy doses of weird performances and direction
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about a brainy prep-school kid with a mrs. robinson complex
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mr. polanski creates images even more haunting than those in mr. spielberg 's 1993 classic .
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the film 's thoroughly recycled plot
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this date-night diversion will definitely win some hearts
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have a good time as it doles out pieces of the famous director 's life
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huge heart
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the narrator and the other characters try to convince us that acting transfigures esther , but
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... a solid , unassuming drama .
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this time , the hype is quieter , and while the movie is slightly less successful than the first , it 's still a rollicking good time for the most part .
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warmth to go around , with music and laughter and the love of family
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funny
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like i already mentioned ... it 's robert duvall !
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an authentically vague , but ultimately purposeless , study in total
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but the power of these ( subjects ) is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .
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of you-are-there immediacy
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have been an eerie thriller
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's hard to imagine a more generic effort in the genre .
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improves
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during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness
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a truly , truly bad movie
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... a series of tales told with the intricate preciseness of the best short story writing .
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offers a ray of hope to the refugees able to look ahead and resist living in a past
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bile
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while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .
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, sets the tone for a summer of good stuff
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sweetest thing
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deceptively simple , deeply satisfying
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comes along only occasionally , one so unconventional
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crush could be the worst film a man has made about women since valley of the dolls .
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love the players it brings to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history
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featuring a dangerously seductive performance from the great daniel auteuil , `` sade '' covers the same period as kaufmann 's `` quills '' with more unsettlingly realistic results .
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is its surreal sense of humor and technological finish
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why should you buy the movie milk when the tv cow is free ?
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is a fascinating little tale
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intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix
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may really need the company of others
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hilarity .
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it 's the image that really tells the tale .
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it has some special qualities and the soulful gravity of crudup 's anchoring performance .
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adventurous young talent
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add up to a satisfying crime drama .
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recalls the classics of early italian neorealism
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is the point of emotional and moral departure for protagonist alice
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compressed into an evanescent , seamless and sumptuous stream of consciousness
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howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a ` literary ' filmmaking style to match his subject
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the ease with which it integrates thoughtfulness and pasta-fagioli comedy
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add up to little more than a screenful of gamesmanship that 's low on both suspense and payoff .
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as if solondz had two ideas for two movies , could n't really figure out how to flesh either out
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the service of a limpid and conventional historical fiction
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seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .
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's coherent , well shot , and tartly acted
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making the proceedings more bizarre than actually amusing
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match the freshness of the actress-producer and writer
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downbeat , period-perfect biopic hammers home a heavy-handed moralistic message
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the movie stirs us as well .
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full of life and small delights
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anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .
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spirit 's visual imagination
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does n't deliver a great story ,
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so perfect
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look sophisticated
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for finding meaning in relationships or work
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we never feel anything for these characters , and as a result the film is basically just a curiosity
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loves the members of the upper class almost as much as they love themselves
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the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense
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sitcom material
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an insane comic undertaking that ultimately coheres into a sane and breathtakingly creative film
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the suckers
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written , flatly , by david kendall and directed , barely , by there
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three hours and with very little story or character
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that it emerges as another key contribution to the flowering of the south korean cinema
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returns de palma to his pulpy thrillers of the early '80s
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, director roger kumble seems to have dumped a whole lot of plot in favor of ... outrageous gags .
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has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .
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with very little story or character
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you wonder why enough was n't just a music video rather than a full-length movie .
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serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .
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from a director beginning to resemble someone 's crazy french grandfather
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a chilly , remote , emotionally distant piece ... so dull that its tagline should be :
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grows decidedly flimsier with its many out-sized , out of character and logically porous action set pieces
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the death of self ... this orgasm ( wo n't be an ) exceedingly memorable one for most people
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