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the weakest of the four harry potter books has been transformed into the stronger of the two films by the thinnest of margins .
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its gross-out gags and colorful set pieces . . . are of course stultifyingly contrived and too stylized by half . still , it gets the job done -- a sleepy afternoon rental .
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it further declares its director , zhang yang of shower , as a boldly experimental , contemporary stylist with a bright future .
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smith's approach is never to tease , except gently and in that way that makes us consider our own eccentricities and how they are expressed through our homes .
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full of profound , real-life moments that anyone can relate to , it deserves a wide audience .
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a movie that will touch the hearts of both children and adults , as well as bring audiences to the edge of their seats .
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leave it to rohmer , now 82 , to find a way to bend current technique to the service of a vision of the past that is faithful to both architectural glories and commanding open spaces of the city as it was more than two centuries ago .
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fine acting but there is no sense of connecting the dots , just dots .
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an extraordinary swedish film about the soul adventure of marriage -- the kind of intimate and character-driven film that bille august does best .
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a blessed gift to film geeks and historians . if the '70's were your idea of a good time at the movies , this will make you very happy .
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it took 19 predecessors to get this ?
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thoughtful , even stinging at times , and lots of fun .
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one of the most haunting , viciously honest coming-of-age films in recent memory .
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the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear .
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it's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn .
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if you love motown music , you'll love this documentary .
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this time out , [sade] is an unsettlingly familiar figure -- in turns loyal and deceitful , responsible and reckless , idealistically selfless and coldly self-interested .
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human resources was a good , straightforward tale , but time out is better . it's haunting . it's like a poem .
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to the film's credit , the acting is fresh and unselfconscious , and munch is a marvel of reality versus sappy sentiment .
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chicago is , in many ways , an admirable achievement .
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shainberg weaves a carefully balanced scenario that is controlled by neither character , is weirdly sympathetic to both and manages to be tender and darkly comic .
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even when foreign directors . . . borrow stuff from hollywood , they invariably shake up the formula and make it more interesting .
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a cockamamie tone poem pitched precipitously between swoony lyricism and violent catastrophe . . . the most aggressively nerve-wracking and screamingly neurotic romantic comedy in cinema history .
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sturdy , entertaining period drama . . . both caine and fraser have their moments .
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whether [binoche and magimel] are being charming or angst-ridden , they easily fill their scenes and , fine judges both , never overcook the hysteria .
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a spunky , original take on a theme that will resonate with singles of many ages .
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it's a glorious groove that leaves you wanting more .
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majidi gets uniformly engaging performances from his largely amateur cast .
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. . . a well-observed and disturbing little movie
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fans of nijinsky will savor every minute of cox's work .
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everything you loved about it in 1982 is still there , for everybody who wants to be a kid again , or show it to their own kids .
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jagger the actor is someone you want to see again .
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warm and exotic .
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escapism in its purest form .
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there is a kind of attentive concern that hoffman brings to his characters , as if he has been giving them private lessons , and now it is time for their first public recital .
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a comic gem with some serious sparkles .
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u . s . audiences may find [attal and gainsbourg's] unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts .
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" cremaster 3 " should come with the warning " for serious film buffs only ! "
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once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale .
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a loving little film of considerable appeal .
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although it's a bit smug and repetitive , this documentary engages your brain in a way few current films do .
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flawed but worthy look at life in u . s . relocation camps .
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it's a lovely film with lovely performances by buy and accorsi .
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no one goes unindicted here , which is probably for the best . and if you're not nearly moved to tears by a couple of scenes , you've got ice water in your veins .
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a warm , funny , engaging film .
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uses sharp humor and insight into human nature to examine class conflict , adolescent yearning , the roots of friendship and sexual identity .
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half submarine flick , half ghost story , all in one criminally neglected film
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entertains by providing good , lively company .
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dazzles with its fully-written characters , its determined stylishness ( which always relates to characters and story ) and johnny dankworth's best soundtrack in years .
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visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .
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nothing's at stake , just a twisty double-cross you can smell a mile away--still , the derivative nine queens is lots of fun .
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unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .
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you'll gasp appalled and laugh outraged and possibly , watching the spectacle of a promising young lad treading desperately in a nasty sea , shed an errant tear .
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the band's courage in the face of official repression is inspiring , especially for aging hippies ( this one included ) .
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although german cooking does not come readily to mind when considering the world's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .
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a beguiling splash of pastel colors and prankish comedy from disney .
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as surreal as a dream and as detailed as a photograph , as visually dexterous as it is at times imaginatively overwhelming .
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[lawrence bounces] all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place .
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the film serves as a valuable time capsule to remind us of the devastating horror suffered by an entire people .
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what's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly engage you .
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whether you like rap music or loathe it , you can't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .
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. . . an otherwise intense , twist-and-turn thriller that certainly shouldn't hurt talented young gaghan's resume .
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it provides the grand , intelligent entertainment of a superior cast playing smart people amid a compelling plot .
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charming and funny ( but ultimately silly ) movie .
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there's . . . tremendous energy from the cast , a sense of playfulness and excitement that seems appropriate .
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it moves quickly , adroitly , and without fuss ; it doesn't give you time to reflect on the inanity -- and the cold war datedness -- of its premise .
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a deep and meaningful film .
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the film's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .
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it's a remarkably solid and subtly satirical tour de force .
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enormously entertaining for moviegoers of any age .
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a poignant , artfully crafted meditation on mortality .
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a rarity among recent iranian films : it's a comedy full of gentle humor that chides the absurdity of its protagonist's plight .
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not only is undercover brother as funny , if not more so , than both austin powers films , but it's also one of the smarter , savvier spoofs to come along in some time .
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in a way , the film feels like a breath of fresh air , but only to those that allow it in .
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woody allen's latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz .
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it's a stunning lyrical work of considerable force and truth .
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the inhospitability of the land emphasizes the spare precision of the narratives and helps to give them an atavistic power , as if they were tales that had been handed down since the beginning of time .
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[n忙s] directed the stage version of elling , and gets fine performances from his two leads who originated the characters on stage .
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made me unintentionally famous 聴 as the queasy-stomached critic who staggered from the theater and blacked out in the lobby . but believe it or not , it's one of the most beautiful , evocative works i've seen .
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a coda in every sense , the pinochet case splits time between a minute-by-minute account of the british court's extradition chess game and the regime's talking-head survivors .
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like mike is a winner for kids , and no doubt a winner for lil bow wow , who can now add movies to the list of things he does well .
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[t]his beguiling belgian fable , very much its own droll and delicate little film , has some touching things to say about what is important in life and why .
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here's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep . but taken as a stylish and energetic one-shot , the queen of the damned cannot be said to suck .
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you won't like roger , but you will quickly recognize him . and that's a big part of why we go to the movies .
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while the stoically delivered hokum of hart's war is never fun , it's still a worthy addition to the growing canon of post-saving private ryan tributes to the greatest generation .
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we know the plot's a little crazy , but it held my interest from start to finish .
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a sober and affecting chronicle of the leveling effect of loss .
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a fast , funny , highly enjoyable movie .
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a celebration of quirkiness , eccentricity , and certain individuals' tendency to let it all hang out , and damn the consequences .
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writer/director joe carnahan's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic .
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a smart , witty follow-up .
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while the ideas about techno-saturation are far from novel , they're presented with a wry dark humor .
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an infectious cultural fable with a tasty balance of family drama and frenetic comedy .
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although occasionally static to the point of resembling a stage play , the film delivers a solid mixture of sweetness and laughs .
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it provides an honest look at a community striving to anchor itself in new grounds .
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add yet another hat to a talented head , clooney's a good director .
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building slowly and subtly , the film , sporting a breezy spontaneity and realistically drawn characterizations , develops into a significant character study that is both moving and wise .
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ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine .
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chilling , well-acted , and finely directed : david jacobson's dahmer .
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a swashbuckling tale of love , betrayal , revenge and above all , faith .
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