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maudlin and melodramatic we expected . boring we did n't .

it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .

confounding because it solemnly advances a daringly preposterous thesis . acting can not be acted .

a derivative collection of horror and sci-fi cliches .

while the story 's undeniably hard to follow , iwai 's gorgeous visuals seduce .

chicago is sophisticated , brash , sardonic , completely joyful in its execution .

. . . a joke at once flaky and resonant , lightweight and bizarrely original .

renner carries much of the film with a creepy and dead-on performance .

a modest masterpiece .

a taut , sobering film .

impresses as a skillfully assembled , highly polished and professional adaptation . . . just about as chilling and unsettling as 'manhunter ' was .

michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and he 's got as potent a topic as ever here .

it 's a brave attempt to tap into the heartbeat of the world , a salute to the universal language of rhythm and a zippy sampling of sounds .

feels like nothing quite so much as a middle-aged moviemaker 's attempt to surround himself with beautiful , half-naked women .

director juan jose campanella could have turned this into an argentine retread of `` iris `` or `` american beauty , `` but instead pulls a little from each film and creates something more beautiful than either of those films .

the talk-heavy film plays like one of robert altman 's lesser works .

there 's a great deal of corny dialogue and preposterous moments . and yet , it still works .

it 's so mediocre , despite the dynamic duo on the marquee , that we just ca n't get no satisfaction .

a cumbersome and cliche-ridden movie greased with every emotional device known to man .

none of this has the suavity or classical familiarity of bond , but much of it is good for a laugh . the problem with `` xxx `` is that its own action is n't very effective .

screenwriters scott abbott and michael petroni have turned rice 's complex akasha into a cartoon monster .

a feature-length , r-rated , road-trip version of mama 's family .

what makes the movie work M-^W to an admittedly limited extent M-^W is the commitment of two genuinely engaging performers . weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk .

the trials of henry kissinger is a remarkable piece of filmmaking because you get it .

the climactic events are so well realized that you may forget all about the original conflict , just like the movie does

provides a satisfactory overview of the bizarre world of extreme athletes as several daredevils express their own views .

i 'd watch these two together again in a new york minute .

the director , steven shainberg , has succeeded by focusing intently on his characters , making them quirky individuals rather than figures of fun .

more of the same old garbage hollywood has been trying to pass off as acceptable teen entertainment for some time now .

as befits its title , this pg-13-rated piffle is ultimately as threatening as the snuggle fabric softener bear .

an almost unbearably morbid love story .

the movie 's heavy-handed screenplay navigates a fast fade into pomposity and pretentiousness .

leaping from one arresting image to another , songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .

captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted `` other . ``

suffers from the lack of a compelling or comprehensible narrative . still , as a visual treat , the film is almost unsurpassed .

holds limited appeal to those who like explosions , sadism and seeing people beat each other to a pulp .

wow , so who knew charles dickens could be so light-hearted ?

here 's yet another cool crime movie that actually manages to bring something new into the mix .

fisher has bared his soul and confronted his own shortcomings here in a way . . . that feels very human and very true to life .

it 's a documentary that says that the alternate sexuality meant to set you free may require so much relationship maintenance that celibacy can start looking good .

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

it 's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script , unimpressive acting and indifferent direction .

this is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .

has none of the crackle of `` fatal attraction `` , `` 9 M-= weeks `` , or even `` indecent proposal `` , and feels more like lyne 's stolid remake of `` lolita `` .

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

you might not buy the ideas . but you 'll definitely want the t-shirt .

throw smoochy from the train !

a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome . in the wrong hands , i . e . peploe 's , it 's simply unbearable

seeks to transcend its genre with a curiously stylized , quasi-shakespearean portrait of pure misogynist evil .

a refreshingly realistic , affectation-free coming-of-age tale .

it 's the movie equivalent of a sweaty old guy in a rain coat shopping for cheap porn .

dazzling in its complexity , disturbing for its extraordinary themes , the piano teacher is a film that defies categorisation . it haunts , horrifies , startles and fascinates ; it is impossible to look away . ah yes , and then there 's the music . . .

almost as offensive as `` freddy got fingered . ``

this long and relentlessly saccharine film is a clear case of preaching to the converted .

return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market .

george , hire a real director and good writers for the next installment , please .

for those who like quirky , slightly strange french films , this is a must !

you could love safe conduct ( laissez passer ) for being a subtitled french movie that is 170 minutes long . you could hate it for the same reason .

a film with contemporary political resonance illustrated by a winning family story .

it has a subtle way of getting under your skin and sticking with you long after it 's over .

an elegant work , food of love is as consistently engaging as it is revealing .

'lovely and amazing , ' unhappily , is neither . . . excessively strained and contrived .

a movie that tries to fuse the two 'woods ' but winds up a bolly-holly masala mess .

pascale bailly 's rom-com provides amM-ilie 's audrey tautou with another fabuleux destin -- i . e . , a banal spiritual quest .

does what should seem impossible : it makes serial killer jeffrey dahmer boring .

a penetrating , potent exploration of sanctimony , self-awareness , self-hatred and self-determination .

believes so fervently in humanity that it feels almost anachronistic , and it is too cute by half . but arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .

when the film ended , i felt tired and drained and wanted to lie on my own deathbed for a while .

it 's such a mechanical endeavor [ that ] it never bothers to question why somebody might devote time to see it .

we learn a lot about dying coral and see a lot of life on the reef .

a giddy and provocative sexual romp that has something to say .

none of this violates the letter of behan 's book , but missing is its spirit , its ribald , full-throated humor .

this one is not nearly as dreadful as expected . in fact , it 's quite fun in places .

a predictable and stereotypical little b-movie .

wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time .

this is art paying homage to art .

there 's nothing exactly wrong here , but there 's not nearly enough that 's right .

that storytelling has value can not be denied . not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .

banal and predictable .

skip this turd and pick your nose instead because you 're sure to get more out of the latter experience .

an empty , ugly exercise in druggy trance-noir and trumped-up street credibility .

there 's an audience for it , but it could have been funnier and more innocent .

with an expressive face reminiscent of gong li and a vivid personality like zhang ziyi 's , dong stakes out the emotional heart of happy .

haneke 's script ( from elfriede jelinek 's novel ) is contrived , unmotivated , and psychologically unpersuasive , with an inconclusive ending .

clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .

a chance to see three splendid actors turn a larky chase movie into an emotionally satisfying exploration of the very human need to be somebody , and to belong to somebody .

an animation landmark as monumental as disney 's 1937 breakthrough snow white and the seven dwarfs .

much of the cast is stiff or just plain bad .

daringly perceptive , taut , piercing and feisty , biggie and tupac is undeniably subversive and involving in its bold presentation .

brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life .

a so-so , made-for-tv something posing as a real movie .

simply a re-hash of the other seven films .

a big fat pain .

other than the slightly flawed ( and fairly unbelievable ) finale , everything else is top shelf .

nair 's cast is so large it 's altman-esque , but she deftly spins the multiple stories in a vibrant and intoxicating fashion .

when a movie has stuck around for this long , you know there 's something there . it 's that good .

it provides a grim , upsetting glimpse at the lives of some of the 1 . 2 million palestinians who live in the crowded cities and refugee camps of gaza .

merely ( and literally ) tosses around sex toys and offers half-hearted paeans to empowerment that are repeatedly undercut by the brutality of the jokes , most at women 's expense .

the mesmerizing performances of the leads keep the film grounded and keep the audience riveted .

still rapturous after all these years , cinema paradiso stands as one of the great films about movie love .