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this is a children 's film in the truest sense . it 's packed with adventure and a worthwhile environmental message , so it 's great for the kids . parents , on the other hand , will be ahead of the plot at all times , and there is n't enough clever innuendo to fil

fear permeates the whole of stortelling , todd solondz ' oftentimes funny , yet ultimately cowardly autocritique .

a thoughtful look at a painful incident that made headlines in 1995 .

workmanlike , maybe , but still a film with all the elements that made the other three great , scary times at the movies .

about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces . . . positively dreadful .

just plain silly .

the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure .

the film feels uncomfortably real , its language and locations bearing the unmistakable stamp of authority .

a 75-minute sample of puerile rubbish that is listless , witless , and devoid of anything resembling humor .

contrived pastiche of caper clichM-is .

tells a fascinating , compelling story .

it 's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .

rumor , a muddled drama about coming to terms with death , feels impersonal , almost generic .

it 's easy to love robin tunney -- she 's pretty and she can act -- but it gets harder and harder to understand her choices .

this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .

a fascinating examination of the joyous , turbulent self-discovery made by a proper , middle-aged woman .

tries to add some spice to its quirky sentiments but the taste is all too familiar .

the new faces are interesting , but the old story is n't , especially when it starts to seem more improvised than scripted .

an unsophisticated sci-fi drama that takes itself all too seriously .

merci pour le movie .

it 's a familiar story , but one that is presented with great sympathy and intelligence .

limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly .

`` abandon `` will leave you wanting to abandon the theater .

deuces wild is an encyclopedia of cliches that shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale without cribbing any of their intelligence .

hashiguchi vividly captures the way young japanese live now , chafing against their culture 's manic mix of millennial brusqueness and undying , traditional politesse .

an intelligent , multi-layered and profoundly humanist ( not to mention gently political ) meditation on the values of knowledge , education , and the affects of cultural and geographical displacement .

shamelessly resorting to pee-related sight gags that might even cause tom green a grimace ; still , myer 's energy and the silliness of it all eventually prevail

a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .

mr . parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom .

as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film 's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .

this is a shrewd and effective film from a director who understands how to create and sustain a mood .

a compelling story of musical passion against governmental odds .

provide [ s ] nail-biting suspense and credible characters without relying on technology-of-the-moment technique or pretentious dialogue .

there 's a reason the studio did n't offer an advance screening . `` the adventures of pluto nash `` is a big time stinker .

those prone to indignation need not apply ; those susceptible to blue hilarity , step right up .

in this film , aussie david caesar channels the not-quite-dead career of guy ritchie .

the humor and humanity of monsoon wedding are in perfect balance .

this is not chabrol 's best , but even his lesser works outshine the best some directors can offer .

ourside the theatre roger might be intolerable company , but inside it he 's well worth spending some time with .

american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone .

calculated swill .

[ gai ] comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form .

inside the film 's conflict-powered plot there is a decent moral trying to get out , but it 's not that , it 's the tension that keeps you in your seat . affleck and jackson are good sparring partners .

one of the more irritating cartoons you will see this , or any , year .

like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike . a heavy reliance on cgi technology is beginning to creep into the series .

when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , 'hey , kool-aid ! '

not a schlocky creature feature but something far more stylish and cerebral -- and , hence , more chillingly effective .

for 95 often hilarious minutes , [ cho ] riffs on the diciness of colonics , on straight versus gay personal ads , on how men would act if they had periods , and on the perils of a certain outrM-i sexual practice .

as an actor 's showcase , hart 's war has much to recommend it , even if the top-billed willis is not the most impressive player . as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .

to call the other side of heaven `` appalling `` would be to underestimate just how dangerous entertainments like it can be .

a playful iranian parable about openness , particularly the need for people of diverse political perspectives to get along despite their ideological differences .

[ a ] thoughtful , visually graceful work .

awesome work : ineffable , elusive , yet inexplicably powerful

tells ( the story ) with such atmospheric ballast that shrugging off the plot 's persnickety problems is simply a matter of ( being ) in a shrugging mood .

tender yet lacerating and darkly funny fable .

the problem is that for the most part , the film is deadly dull .

although sensitive to a fault , it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .

a movie that hovers somewhere between an acute character study and a trite power struggle .

laconic and very stilted in its dialogue , this indie flick never found its audience , probably because it 's extremely hard to relate to any of the characters .

these characters become wearisome .

a brisk , reverent , and subtly different sequel .

vera has created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores .

instead of panoramic sweep , kapur gives us episodic choppiness , undermining the story 's emotional thrust .

sitting through the last reel ( spoiler alert ! ) is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .

witty and often surprising , a dark little morality tale disguised as a romantic comedy .

this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life .

once again , director chris columbus takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours .

much of the movie 's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive .

colorful , energetic and sweetly whimsical . . . the rare sequel that 's better than its predecessor .

it 's still adam sandler , and it 's not little nicky . and for many of us , that 's good enough .

the whole thing plays out with the drowsy heaviness of synchronized swimmer wearing a wool wetsuit .

a supernatural mystery that does n't know whether it wants to be a suspenseful horror movie or a weepy melodrama . it ends up being neither , and fails at both endeavors .

an exhilarating futuristic thriller-noir , minority report twists the best of technology around a gripping story , delivering a riveting , pulse intensifying escapist adventure of the first order

. . . does such a fine job of engulfing you in its world and allying you with its characters ' choices , good and ill , that its shortcomings are remembered only as an afterthought .

no worse than a lot of the crap we 've been offered this summer , and slightly better than men in black 2 as far as slapdash extraterrestrial comedies go .

will warm your heart without making you feel guilty about it .

every sequel you skip will be two hours gained . consider this review life-affirming .

far from perfect , but its heart is in the right place . . . innocent and well-meaning .

quiet , adult and just about more stately than any contemporary movie this year . . . a true study , a film with a questioning heart and mind that is n't afraid to admit it does n't have all the answers .

the pool drowned me in boredom .

a incompetM-jncia de marcus adams como roteirista sM-s M-i superada por sua pM-issima direM-gM-co .

a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass .

[ stephen ] earnhart 's film is more about the optimism of a group of people who are struggling to give themselves a better lot in life than the ones they currently have .

hart 's war seems to want to be a character study , but apparently ca n't quite decide which character .

a film that loses sight of its own story .

the only fun part of the movie is playing the obvious game . you try to guess the order in which the kids in the house will be gored .

a sleep-inducingly slow-paced crime drama with clumsy dialogue , heavy-handed phoney-feeling sentiment , and an overly-familiar set of plot devices .

[ jeff 's ] gorgeous , fluid compositions , underlined by neil finn and edmund mcwilliams 's melancholy music , are charged with metaphor , but rarely easy , obvious or self-indulgent .

its one-sidedness . . . flirts with propaganda .

with its paint fights , motorized scooter chases and dewy-eyed sentiment , it 's a pretty listless collection of kid-movie clichM-is .

. . . what a banal bore the preachy circuit turns out to be

well , jason 's gone to manhattan and hell , i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger ) .

while it has definite weaknesses -- like a rather unbelievable love interest and a meandering ending -- this '60s caper film is a riveting , brisk delight .

like a skillful fisher , the director uses the last act to reel in the audience since its poignancy hooks us completely .

the most memorable moment was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration .

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 .

those of you who are not an eighth grade girl will most likely doze off during this one .

the movie slides downhill as soon as macho action conventions assert themselves .

the film 's snags and stumblings are more than compensated for by its wryly subversive tone .

the film has several strong performances .