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the animated subplot keenly depicts the inner struggles of our adolescent heroes - insecure , uncontrolled , and intense .

baran is shockingly devoid of your typical majid majidi shoe-loving , crippled children .

the biggest problem with this movie is that it's not nearly long enough .

among the year's most intriguing explorations of alientation .

was that movie nothing more than a tepid exercise in trotting out a formula that worked five years ago but has since lost its fizz ?

i was amused and entertained by the unfolding of bielinsky's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .

exceptionally well acted by diane lane and richard gere .

wow , so who knew charles dickens could be so light-hearted ?

this is a harrowing movie about how parents know where all the buttons are , and how to push them .

stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .

[westbrook] makes a wonderful subject for the camera .

sharp edges and a deep vein of sadness run through its otherwise comic narrative .

a soul-stirring documentary about the israeli/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .

the entire cast is extraordinarily good .

the unceasing sadism is so graphically excessive , the director just ends up exposing his own obsession .

unfortunately , carvey's rubber-face routine is no match for the insipid script he has crafted with harris goldberg .

about schmidt belongs to nicholson . gone are the flamboyant mannerisms that are the trademark of several of his performances . as schmidt , nicholson walks with a slow , deliberate gait , chooses his words carefully and subdues his natural exuberance .

moderately involving despite bargain-basement photography and hackneyed romance .

one of the best , most understated performances of [jack nicholson's] career .

it's like going to a house party and watching the host defend himself against a frothing ex-girlfriend . you don't want to call the cops . you want to call domino's .

will give many ministers and bible-study groups hours of material to discuss . but mainstream audiences will find little of interest in this film , which is often preachy and poorly acted .

a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .

director alfonso cuaron gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films .

a film of precious increments artfully camouflaged as everyday activities .

the ring just left me cold and wet like i was out in the seattle drizzle without rainwear .

it's tough 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 .

[breheny's] lensing of the new zealand and cook island locations captures both the beauty of the land and the people .

coppola's directorial debut is 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 .

this road movie gives you emotional whiplash , and you'll be glad you went along for the ride .

this is one of the most visually stunning and thematically moving epics in recent memory , and in spite of numerous minor flaws , scorsese's best in more than a decade .

if jews were catholics , this would be catechism

the message of such reflections--intentional or not--is that while no art grows from a vacuum , many artists exist in one .

this is more a case of 'sacre bleu ! ' than 'magnifique' .

it's another video movie photographed like a film , with the bad lighting that's often written off as indie film naturalism .

worth catching for griffiths' warm and winning central performance .

when a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer , better written and of considerable more interest than the finished film , that's a bad sign . a very bad sign .

what's next ? the porky's revenge : ultimate edition ?

by the time we learn that andrew's turnabout is fair play is every bit as awful as borchardt's coven , we can enjoy it anyway .

despite modest aspirations its occasional charms are not to be dismissed .

it seems impossible that an epic four-hour indian musical about a cricket game could be this good , but it is .

barrels along at the start before becoming mired in sentimentality .

personal velocity has a no-frills docu-dogma plainness , yet miller lingers on invisible , nearly psychic nuances , leaping into digressions of memory and desire . she boxes these women's souls right open for us .

until it goes off the rails in its final 10 or 15 minutes , wendigo , larry fessenden's spooky new thriller , is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films .

the movie is so contrived , nonsensical and formulaic that , come to think of it , the day-old shelf would be a more appropriate location to store it .

campanella's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael's evolution .

bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy !

murderous maids pulls no punches in its depiction of the lives of the papin sister and the events that led to their notorious rise to infamy . . .

a boring , formulaic mix of serial killers and stalk'n'slash .

it leers , offering next to little insight into its intriguing subject .

deepa mehta provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world .

there's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director like steven spielberg to follow a . i . with this challenging report so liable to unnerve the majority .

too often , the viewer isn't reacting to humor so much as they are wincing back in repugnance .

a warm but realistic meditation on friendship , family and affection .

derailed by bad writing and possibly also by some of that extensive post-production reworking to aim the film at young males in the throes of their first full flush of testosterone .

feels like one of those contrived , only-in -hollywood productions where name actors deliver big performances created for the sole purpose of generating oscar talk .

sillier , cuter , and shorter than the first ( as best i remember ) , but still a very good time at the cinema .

'de niro . . . is a veritable source of sincere passion that this hollywood contrivance orbits around . '

tsai may be ploughing the same furrow once too often .

klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed .

its inescapable absurdities are tantamount to insulting the intelligence of anyone who hasn't been living under a rock ( since sept . 11 ) .

it's not that waiting for happiness is a bad film , because it isn't . it's just incredibly dull .

if the very concept makes you nervous . . . you'll have an idea of the film's creepy , scary effectiveness .

a road trip that will get you thinking , 'are we there yet ? '

a quiet family drama with a little bit of romance and a dose of darkness .

resurrection has the dubious distinction of being a really bad imitation of the really bad blair witch project .

. . . by the time it's done with us , mira nair's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .

. . . once the true impact of the day unfolds , the power of this movie is undeniable .

this is carion's debut feature but his script and direction hums with a confidence that many spend entire careers trying to reach .

is not so much a work of entertainment as it is a unique , well-crafted psychological study of grief .

everyone's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships .

the script is a tired one , with few moments of joy rising above the stale material .

there are plenty of scenes in frida that do work , but rarely do they involve the title character herself .

every once in a while , a movie will come along that turns me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy

though avary has done his best to make something out of ellis' nothing novel , in the end , his rules is barely worth following .

`martin lawrence live' is so self-pitying , i almost expected there to be a collection taken for the comedian at the end of the show .

a touching , small-scale story of family responsibility and care in the community .

" on guard ! " won't be placed in the pantheon of the best of the swashbucklers but it is a whole lot of fun and you get to see the one of the world's best actors , daniel auteuil , have a whale of a good time .

top-notch action powers this romantic drama .

stale and clichd to a fault .

reign of fire looks as if it was made without much thought -- and is best watched that way .

all the necessary exposition prevents the picture from rising above your generic sand 'n' sandal adventure .

isabelle huppert excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol's most intense psychological mysteries .

a modest masterpiece .

all in all , the count of monte cristo is okay , but it is surely no classic , like the novel upon which it is based .

the skills of a calculus major at m . i . t . are required to balance all the formulaic equations in the long-winded heist comedy who is cletis tout ?

borrows from other movies like it in the most ordinary and obvious fashion .

the movie has an avalanche of eye-popping visual effects .

with its hint of an awkward hitchcockian theme in tact , harmon's daunting narrative promotes a reasonable landscape of conflict and pathos to support the scattershot terrorizing tone

godawful boring slug of a movie .

my big fat greek wedding is not only the best date movie of the year , it's also a -- dare i say it twice -- delightfully charming -- and totally american , i might add -- slice of comedic bliss .

an uplifting drama . . . what antwone fisher isn't , however , is original .

hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u . s . -- a major director is emerging in world cinema .

definitely a crowd-pleaser , but then , so was the roman colosseum .

this may be burns's strongest film since the brothers mcmullen .

nair doesn't use [monsoon wedding] to lament the loss of culture . instead , she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions .

a puzzling experience .

a glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism .

if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic .

the most compelling performance of the year adds substantial depth to this shocking testament to anti-semitism and neo-fascism .

a feature-length , r-rated , road-trip version of mama's family .