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with its dogged hollywood naturalism and the inexorable passage of its characters toward sainthood , windtalkers is nothing but a sticky-sweet soap .

. . . has its moments , but ultimately , its curmudgeon does n't quite make the cut of being placed on any list of favorites .

leigh 's film is full of memorable performances from top to bottom .

the code talkers deserved better than a hollow tribute .

i have to admit that i am baffled by jason x .

an excellent romp that boasts both a heart and a mind .

why sit through a crummy , wannabe-hip crime comedy that refers incessantly to old movies , when you could just rent those movies instead , let alone seek out a respectable new one ?

holden caulfield did it better .

has the marks of a septuagenarian ; it 's a crusty treatment of a clever gimmick .

a b-movie you can sit through , enjoy on a certain level and then forget .

chokes on its own depiction of upper-crust decorum .

ms . seigner and mr . serrault bring fresh , unforced naturalism to their characters .

buy is an accomplished actress , and this is a big , juicy role .

thoughtful , provocative and entertaining .

writer-director david jacobson and his star , jeremy renner , have made a remarkable film that explores the monster 's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted .

the sort of film that makes me miss hitchcock , but also feel optimistic that there 's hope for popular cinema yet .

' . . . despite lagging near the finish line , the movie runs a good race , one that will have you at the edge of your seat for long stretches . '

a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time .

the film is a fierce dance of destruction . its flame-like , roiling black-and-white inspires trembling and gratitude .

the message is that even the most unlikely can link together to conquer all kinds of obstacles , whether they be of nature , of man or of one another .

the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor .

i hate the feeling of having been slimed in the name of high art .

. . . a good film that must have baffled the folks in the marketing department .

what lifts the film high above run-of-the-filth gangster flicks is its refusal to recognise any of the signposts , as if discovering a way through to the bitter end without a map .

not since ghostbusters has a film used manhattan 's architecture in such a gloriously goofy way .

the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep . but the actors make this worth a peek .

an original gem about an obsession with time .

so bland and utterly forgettable that it might as well have been titled generic jennifer lopez romantic comedy .

i did n't believe for a moment in these villains or their plot .

more maudlin than sharp .

any one episode of the sopranos would send this ill-conceived folly to sleep with the fishes .

the film goes from being an unusual sci-fi character study to a chase flick that detracts from its ending .

an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine line between passion and pretence .

awesome creatures , breathtaking scenery , and epic battle scenes add up to another 'spectacular spectacle . '

even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it 's documenting .

directors brett morgen and nanette burstein have put together a bold biographical fantasia .

there 's an epic here , but you have to put it together yourself .

a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . . it 's a worthwhile tutorial in quantum physics and slash-dash

este M-i apenas mais um ( longo ) episM-sdio do programa da mtv . a M-znica diferenM-ga M-i que , desta vez , a paramount teve o mau gosto de exibi-lo nos cinemas .

absorbing character study by andrM-i turpin .

only two words will tell you what you know when deciding to see it : anthony . hopkins .

burns ' fifth beer-soaked film feels in almost every possible way -- from the writing and direction to the soggy performances -- tossed off .

like all of egoyan 's work , ararat is fiercely intelligent and uncommonly ambitious .

the only excitement comes when the credits finally roll and you get to leave the theater .

to the vast majority of more casual filmgoers , it will probably be a talky bore .

every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible . that , in itself , is extraordinary .

you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling .

maybe you 'll be lucky , and there 'll be a power outage during your screening so you can get your money back .

instead of hitting the audience over the head with a moral , schrader relies on subtle ironies and visual devices to convey point of view .

there 's suspension of disbelief and then there 's bad screenwriting . . . this film packs a wallop of the latter .

troll the cult section of your local video store for the real deal .

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 !

beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce . . . lies a plot cobbled together from largely flat and uncreative moments .

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

it uses the pain and violence of war as background material for color .

can be viewed as pure composition and form -- film as music

this time kaufman 's imagination has failed him .

this submarine drama earns the right to be favorably compared to das boot .

i ca n't quite recommend it -- it 's too patched together -- but i almost can ; it 's the kind of movie that makes you want to like it .

plays like some corny television production from a bygone era

highly recommended as an engrossing story about a horrifying historical event and the elements which contributed to it .

. . . tara reid plays a college journalist , but she looks like the six-time winner of the miss hawaiian tropic pageant , so i do n't know what she 's doing in here . . .

. . . turns so unforgivably trite in its last 10 minutes that anyone without a fortified sweet tooth will likely go into sugar shock .

the film belongs to the marvelous verdu , a sexy slip of an earth mother who mourns her tragedies in private and embraces life in public

[ a ] rather thinly-conceived movie .

this heist flick about young brooklyn hoods is off the shelf after two years to capitalize on the popularity of vin diesel , seth green and barry pepper . it should have stayed there .

upsetting and thought-provoking , the film has an odd purity that does n't bring you into the characters so much as it has you study them .

a thoughtful , provocative , insistently humanizing film .

one thing 's for sureM-^Wif george romero had directed this movie , it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head .

it 's technically sumptuous but also almost wildly alive .

a trite psychological thriller designed to keep the audience guessing and guessing -- which is not to be confused with suspecting -- until it comes time to wrap things up and send the viewers home .

director roger kumble offers just enough sweet and traditional romantic comedy to counter the crudity . and there 's the inimitable diaz , holding it all together .

the cat 's meow marks a return to form for director peter bogdanovich . . .

an atonal estrogen opera that demonizes feminism while gifting the most sympathetic male of the piece with a nice vomit bath at his wedding .

enjoy it for what it is ; you can hate yourself later .

shattering , devastating documentary on two maladjusted teens in a downward narcotized spiral . extraordinary debut from josh koury .

a sharp and quick documentary that is funny and pithy , while illuminating an era of theatrical comedy that , while past , really is n't .

thoughtless , random , superficial humour and a lot of very bad scouse accents

the very definition of what critics have come to term an `` ambitious failure . ``

there is a real subject here , and it is handled with intelligence and care .

overall , it 's a very entertaining , thought-provoking film with a simple message : god is love .

wilco fans will have a great time , and the movie should win the band a few new converts , too .

works better in the conception than it does in the execution . . . winds up seeming just a little too clever .

a three-hour cinema master class .

you 'll have more fun setting fire to yourself in the parking lot . you 'll be more entertained getting hit by a bus .

all the filmmakers are asking of us , is to believe in something that is improbable .

eight legged freaks ? no big hairy deal .

a `` black austin powers ? `` i prefer to think of it as `` pootie tang with a budget . `` sa da tay !

hey arnold ! the movie is what happens when you blow up small potatoes to 10 times their natural size , and it ai n't pretty .

a pathetic exploitation film that tries to seem sincere , and just seems worse for the effort .

sayles . . . once again strands his superb performers in the same old story .

an action/thriller of the finest kind , evoking memories of day of the jackal , the french connection , and heat .

routine and rather silly .

the dangerous lives of altar boys ' take on adolescence feels painfully true .

its appeal will probably limited to lds church members and undemanding armchair tourists .

a silly , self-indulgent film about a silly , self-indulgent filmmaker .

it 's an often-cute film but either needs more substance to fill the time or some judicious editing .

the movie has an infectious exuberance that will engage anyone with a passing interest in the skate/surf culture , the l . a . beach scene and the imaginative ( and sometimes illegal ) ways kids can make a playground out of the refuse of adults .

the cumulative effect of the movie is repulsive and depressing .

it 's a frankenstein-monster of a film that does n't know what it wants to be .