Datasets:

KaiLv

/

UDR_SST-5

like 0

a stirring , funny and finally transporting re-imagining of beauty and the beast and 1930s horror films

apparently reassembled from the cutting-room floor of any given daytime soap .

they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes .

the entire movie is filled with deja vu moments .

this is a visually stunning rumination on love , memory , history and the war between art and commerce .

um , no. .

jonathan parker 's bartleby should have been the be-all-end-all of the modern-office anomie films .

campanella gets the tone just right -- funny in the middle of sad in the middle of hopeful .

a fan film that for the uninitiated plays better on video with the sound turned down .

béart and berling are both superb , while huppert ... is magnificent .

a little less extreme than in the past , with longer exposition sequences between them , and with fewer gags to break the tedium .

the film is strictly routine .

a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world .

the most repugnant adaptation of a classic text since roland joffé and demi moore 's the scarlet letter .

for something as splendid-looking as this particular film , the viewer expects something special but instead gets ( sci-fi ) rehash .

this is a stunning film , a one-of-a-kind tour de force .

may be more genial than ingenious , but it gets the job done .

there is a freedom to watching stunts that are this crude , this fast-paced and this insane .

if the tuxedo actually were a suit , it would fit chan like a $ 99 bargain-basement special .

as quiet , patient and tenacious as mr. lopez himself , who approaches his difficult , endless work with remarkable serenity and discipline .

final verdict : you 've seen it all before .

blue crush follows the formula , but throws in too many conflicts to keep the story compelling .

you ... get a sense of good intentions derailed by a failure to seek and strike just the right tone .

a slick , engrossing melodrama .

a wretched movie that reduces the second world war to one man 's quest to find an old flame .

eccentric enough to stave off doldrums , caruso 's self-conscious debut is also eminently forgettable .

will undoubtedly play well in european markets , where mr. besson is a brand name , and in asia , where ms. shu is an institution , but american audiences will probably find it familiar and insufficiently cathartic .

one of ( jaglom 's ) better efforts -- a wry and sometime bitter movie about love .

lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child 's interest and an adult 's patience .

the santa clause 2 proves itself a more streamlined and thought out encounter than the original could ever have hoped to be .

the film is moody , oozing , chilling and heart-warming all at once ... a twisting , unpredictable , cat-and-mouse thriller .

too bad .

a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man .

gooding offers a desperately ingratiating performance .

you end up simply admiring this bit or that , this performance or that .

a well-intentioned effort that 's still too burdened by the actor 's offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility .

analyze that regurgitates and waters down many of the previous film 's successes , with a few new swings thrown in .

there 's a neat twist , subtly rendered , that could have wrapped things up at 80 minutes , but kang tacks on three or four more endings .

a fun ride .

what with the incessant lounge music playing in the film 's background , you may mistake love liza for an adam sandler chanukah song .

an edgy thriller that delivers a surprising punch .

` what 's the russian word for wow !? '

you might say tykwer has done all that heaven allows , if you wanted to make as anti-kieslowski a pun as possible .

many shallower movies these days seem too long , but this one is egregiously short .

otto-sallies has a real filmmaker 's eye .

lurid and less than lucid work .

a portrait of an artist .

once again , the intelligence of gay audiences has been grossly underestimated , and a meaty plot and well-developed characters have been sacrificed for skin and flash that barely fizzle .

with a confrontational stance , todd solondz takes aim on political correctness and suburban families .

many of the effective horror elements are dampened through familiarity , ( yet ) are worthwhile .

with its parade of almost perpetually wasted characters ... margarita feels like a hazy high that takes too long to shake .

i could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay .

overall , cletis tout is a winning comedy that excites the imagination and tickles the funny bone .

you live the mood rather than savour the story .

the movie is so thoughtlessly assembled .

here polanski looks back on those places he saw at childhood , and captures them by freeing them from artefact , and by showing them heartbreakingly drably .

some body is a shaky , uncertain film that nevertheless touches a few raw nerves .

it 's a very sincere work , but it would be better as a diary or documentary .

while american adobo has its heart ( and its palate ) in the right place , its brain is a little scattered -- ditsy , even .

unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck .

and it 's a lousy one at that .

it 's not too fast and not too slow .

it 's an entertaining movie , and the effects , boosted to the size of a downtown hotel , will all but take you to outer space .

it is as uncompromising as it is nonjudgmental , and makes clear that a prostitute can be as lonely and needy as any of the clients .

compellingly watchable .

despite some comic sparks , welcome to collinwood never catches fire .

he may have meant the internet short saving ryan 's privates .

though jackson does n't always succeed in integrating the characters in the foreground into the extraordinarily rich landscape , it must be said that he is an imaginative filmmaker who can see the forest for the trees .

not only does spider-man deliver , but i suspect it might deliver again and again .

it 's worth taking the kids to .

the movie plays up the cartoon 's more obvious strength of snazziness while neglecting its less conspicuous writing strength .

without shakespeare 's eloquent language , the update is dreary and sluggish .

dense , exhilarating documentary .

... feels as if ( there 's ) a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .

poignant if familiar story of a young person suspended between two cultures .

a perfectly acceptable , perfectly bland , competently acted but by no means scary horror movie .

methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it 's so successful at lodging itself in the brain .

this is amusing for about three minutes .

though a touch too arthouse 101 in its poetic symbolism , heaven proves to be a good match of the sensibilities of two directors .

superbly photographed and staged by mendes with a series of riveting set pieces the likes of which mainstream audiences have rarely seen .

a metaphor for a modern-day urban china searching for its identity .

it 's a square , sentimental drama that satisfies , as comfort food often can .

the wonderfully lush morvern callar is pure punk existentialism , and ms. ramsay and her co-writer , liana dognini , have dramatized the alan warner novel , which itself felt like an answer to irvine welsh 's book trainspotting .

admirers of director abel ferrara may be relieved that his latest feature , r xmas , marks a modest if encouraging return to form .

not once in the rush to save the day did i become very involved in the proceedings ; to me , it was just a matter of ` eh . '

an ugly-duckling tale so hideously and clumsily told it feels accidental .

becomes a bit of a mishmash : a tearjerker that does n't and a thriller that wo n't .

at its worst , the movie is pretty diverting ; the pity is that it rarely achieves its best .

could i have been more geeked when i heard that apollo 13 was going to be released in imax format ?

this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it .

more successful at relating history than in creating an emotionally complex , dramatically satisfying heroine

cho 's timing is priceless .

criminal conspiracies and true romances move so easily across racial and cultural lines in the film that it makes my big fat greek wedding look like an apartheid drama .

there 's something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers .

what elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish .

greengrass ( working from don mullan 's script ) forgoes the larger socio-political picture of the situation in northern ireland in favour of an approach that throws one in the pulsating thick of a truly frightening situation .

nicholson 's understated performance is wonderful .

the filmmakers know how to please the eye , but it is not always the prettiest pictures that tell the best story .

it 's unfortunate that wallace , who wrote gibson 's braveheart as well as the recent pearl harbor , has such an irrepressible passion for sappy situations and dialogue .

jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .