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though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes .
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compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder .
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what it lacks in originality it makes up for in intelligence and b-grade stylishness .
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the warm presence of zhao benshan makes the preposterous lying hero into something more than he reasonably should be .
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this is as powerful a set of evidence as you'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives .
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director rob marshall went out gunning to make a great one .
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skip work to see it at the first opportunity .
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bow's best moments are when he's getting busy on the basketball court because that's when he really scores .
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offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .
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in the end , punch-drunk love is one of those films that i wanted to like much more than i actually did . sometimes , that's enough .
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an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected .
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ice cube holds the film together with an engaging and warm performance . . .
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both deeply weird and charmingly dear .
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as blunt as it is in depicting child abuse , el bola is a movie steeped in an ambiguity that lends its conflicts a symbolic resonance .
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despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it .
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it's a masterpiece .
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an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
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it's the cinematic equivalent of a good page-turner , and even if it's nonsense , its claws dig surprisingly deep .
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director nalin pan doesn't do much to weigh any arguments one way or the other . he simply presents his point of view that ayurveda works . no question .
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what " empire " lacks in depth it makes up for with its heart .
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claude miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications .
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what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment . still , i'm not quite sure what the point is
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rich in detail , gorgeously shot and beautifully acted , les destinees is , in its quiet , epic way , daring , inventive and refreshingly unusual .
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( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman's moist , deeply emotional eyes shine through this bogus veneer . . .
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do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman doesn't work ?
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ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier .
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the film's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .
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don't expect any surprises in this checklist of teamwork cliches . . .
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as adapted by kevin molony from simon leys' novel " the death of napoleon " and directed by alan taylor , napoleon's journey is interesting but his parisian rebirth is stillborn
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the movie addresses a hungry need for pg-rated , nonthreatening family movies , but it doesn't go too much further .
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this warm and gentle romantic comedy has enough interesting characters to fill several movies , and its ample charms should win over the most hard-hearted cynics .
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a yarn that respects the marvel version without becoming ensnared by it .
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this is a happy throwback to the time when cartoons were cinema's most idiosyncratic form instead of one of its most predictable .
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complex , affecting and uniquely almod贸var , the film evokes strong emotions and pushes viewers to question their deepest notions of moral right and wrong .
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good ol' urban legend stuff .
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not so much a movie as a picture book for the big screen . this isn't my favorite in the series , still i enjoyed it enough to recommend .
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it's one of the most honest films ever made about hollywood .
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it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come .
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on its own cinematic terms , it successfully showcases the passions of both the director and novelist byatt .
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light , silly , photographed with colour and depth , and rather a good time .
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pray's film works well and will appeal even to those who aren't too familiar with turntablism .
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troubling and powerful .
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good movie . good actress . but if you expect light romantic comedy , good gosh , will you be shocked .
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it has the courage to wonder about big questions with sincerity and devotion . it risks seeming slow and pretentious , because it thinks the gamble is worth the promise .
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with youthful high spirits , tautou remains captivating throughout michele's religious and romantic quests , and she is backed by a likable cast .
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it's an example of sophisticated , challenging filmmaking that stands , despite its noticeable lack of emotional heft , in welcome contrast to the indulgent dead-end experimentation of the director's previous full frontal .
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a very funny look at how another culture handles the process of courting and marriage .
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but tongue-in-cheek preposterousness has always been part of for the most part wilde's droll whimsy helps " being earnest " overcome its weaknesses and parker's creative interference . . .
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much of the movie's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive .
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the path ice age follows most closely , though , is the one established by warner bros . giant chuck jones , who died a matter of weeks before the movie's release .
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anchored by a terrific performance by abbass , satin rouge shows that the idea of women's self-actualization knows few continental divides .
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awkward but sincere and , ultimately , it wins you over .
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smith profiles five extraordinary american homes , and because the owners seem fully aware of the uses and abuses of fame , it's a pleasure to enjoy their eccentricities .
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though the plot is predictable , the movie never feels formulaic , because the attention is on the nuances of the emotional development of the delicate characters .
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sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man's ruin may be another's fortune .
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goyer's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast .
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binoche and magimel are perfect in these roles .
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when your leading ladies are a couple of screen-eating dominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily .
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while undercover brother is definitely one for the masses , it's also full of sharp , smart satire .
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gets under the skin of a man who has just lost his wife .
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it may not be " last tango in paris " but . . .
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no wonder they're talking about " talk to her . " it's astonishing .
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for its seriousness , high literary aspirations and stunning acting , the film can only be applauded .
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look , this is a terrific flick replete with dazzling camera-work , dancing and music .
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it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs .
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it's fairly self-aware in its dumbness .
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a triumph , relentless and beautiful in its downbeat darkness .
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tailored to entertain !
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a compelling , moving film that respects its audience and its source material .
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has a plot full of twists upon knots . . . and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill .
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a work of astonishing delicacy and force .
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the film benefits greatly from a less manic tone than its predecessor , as cho appears to have settled comfortably into her skin .
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for the first time in several years , mr . allen has surpassed himself with the magic he's spun with the hollywood empress of ms . leoni's ellie .
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isn't quite the equal of woo's best earlier work , but it's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films .
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the film hinges on its performances , and both leads are up to the task .
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an intelligent , earnest , intimate film that drops the ball only when it pauses for blunt exposition to make sure you're getting its metaphysical point .
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a modest pleasure that accomplishes its goals with ease and confidence .
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a breezy , diverting , conventional , well-acted tale of two men locked in an ongoing game of cat-and-cat .
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what jackson has accomplished here is amazing on a technical level .
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as teen movies go , " orange county " is a refreshing change
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makes s&m seem very romantic , and maggie gyllenhaal is a delight .
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a deliciously mordant , bitter black comedy .
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although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek's polished direction pour delightfully piquant wine from aged bottles .
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it is risky , intelligent , romantic and rapturous from start to finish .
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the movie sticks much closer to hornby's drop-dead confessional tone than the film version of high fidelity did .
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a pleasant ramble through the sort of idoosyncratic terrain that errol morris has often dealt with . . . it does possess a loose , lackadaisical charm .
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. . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around )
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this is a raw and disturbing tale that took five years to make , and the trio's absorbing narrative is a heart-wrenching showcase indeed .
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a beautiful and haunting examination of the stories we tell ourselves to make sense of the mundane horrors of the world .
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aside from being the funniest movie of the year , simone , andrew niccol's brilliant anti-hollywood satire , has a wickedly eccentric enchantment to it .
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watstein handily directs and edits around his screenplay's sappier elements . . . and sustains off the hook's buildup with remarkable assuredness for a first-timer .
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just another fish-out-of-water story that barely stays afloat .
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there's an energy to y tu mam谩 tambi茅n . much of it comes from the brave , uninhibited performances by its lead actors .
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it's the kind of pigeonhole-resisting romp that hollywood too rarely provides .
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reinforces the often forgotten fact of the world's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes .
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you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling .
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it's hard not to be seduced by [witherspoon's] charisma , even in this run-of-the-mill vehicle , because this girl knows how to drive it to the max .
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a movie for 11-year-old boys with sports dreams of their own and the preteen girls who worship lil' bow wow .
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a refreshingly authentic coming-of-age tale .
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if you're not into the pokemon franchise , this fourth animated movie in four years won't convert you -- or even keep your eyes open . but fans should have fun meeting a brand-new pokemon called celebi .
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