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no dia em que aceitou dirigir esta continuaM-gM-co , harold ramis deve ter saM-mdo da cama com o pM-i esquerdo . e aqueles que decidiram assistir a este filme tambM-im .

too often , son of the bride becomes an exercise in trying to predict when a preordained `` big moment `` will occur and not `` if . ``

a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling .

nothing more substantial than a fitfully clever doodle .

for a movie about the power of poetry and passion , there is precious little of either .

ali 's graduation from little screen to big is far less painful than his opening scene encounter with an over-amorous terrier .

the film is way too full of itself ; it 's stuffy and pretentious in a give-me-an-oscar kind of way .

i 'd rather watch a rerun of the powerpuff girls

if mr . zhang 's subject matter is , to some degree at least , quintessentially american , his approach to storytelling might be called iranian .

predictably soulless techno-tripe .

a few energetic stunt sequences briefly enliven the film , but the wheezing terrorist subplot has n't the stamina for the 100-minute running time , and the protagonists ' bohemian boorishness mars the spirit of good clean fun .

critics need a good laugh , too , and this too-extreme-for-tv rendition of the notorious mtv show delivers the outrageous , sickening , sidesplitting goods in steaming , visceral heaps .

as with too many studio pics , plot mechanics get in the way of what should be the lighter-than-air adventure .

two hours of sepia-tinted heavy metal images and surround sound effects of people moaning .

a waste of fearless purity in the acting craft .

the subtitled costume drama is set in a remote african empire before cell phones , guns , and the internal combustion engine , but the politics that thump through it are as timely as tomorrow .

cherish would 've worked a lot better had it been a short film .

i was amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .

a boring , wincingly cute and nauseatingly politically correct cartoon guaranteed to drive anyone much over age 4 screaming from the theater .

it 's an interesting effort ( particularly for jfk conspiracy nuts ) , and barry 's cold-fish act makes the experience worthwhile .

overall , it 's a pretty mediocre family film .

the disarming cornball atmosphere has a way of infecting the entire crowd as the film rolls on .

the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it .

one of the more glaring signs of this movie 's servitude to its superstar is the way it skirts around any scenes that might have required genuine acting from ms . spears .

the film tries too hard to be funny and tries too hard to be hip . the end result is a film that 's neither .

plays out with a dogged and eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel .

too simple for its own good .

director claude chabrol has become the master of innuendo . it is not what you see , it is what you think you see .

the hook is the drama within the drama , as an unsolved murder and an unresolved moral conflict jockey for the spotlight .

if the film 's vision of sport as a secular religion is a bit cloying , its through-line of family and community is heartening in the same way that each season marks a new start .

trailer trash cinema so uncool the only thing missing is the `` gadzooks ! ``

other than a mildly engaging central romance , hospital is sickly entertainment at best and mind-destroying cinematic pollution at worst .

offers big , fat , dumb laughs that may make you hate yourself for giving in . ah , what the hell .

not a bad premise , but the execution is lackluster at best .

a shimmeringly lovely coming-of-age portrait , shot in artful , watery tones of blue , green and brown .

like all abstract art , the film does not make this statement in an easily accessible way , and -- unless prewarned -- it would be very possible for a reasonably intelligent person to sit through its tidal wave of imagery and not get this vision at all .

ryan gosling is , in a word , brilliant as the conflicted daniel .

an occasionally interesting but mostly repetitive look at a slice of counterculture that might be best forgotten .

writer-director randall wallace has bitten off more than he or anyone else could chew , and his movie veers like a drunken driver through heavy traffic .

like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .

not a cozy or ingratiating work , but it 's challenging , sometimes clever , and always interesting , and those are reasons enough to see it .

dense with characters and contains some thrilling moments .

the bourne identity is what summer screen escapism used to be in the decades when it was geared more to grownups .

what [ frei ] gives us . . . is a man who uses the damage of war -- far more often than the warfare itself -- to create the kind of art shots that fill gallery shows .

jason x is positively anti-darwinian : nine sequels and 400 years later , the teens are none the wiser and jason still kills on auto-pilot .

seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr . drew barrymore .

'estupendamente actuada , sumamente emotiva y profundamente humana , es una experiencia fM-mlmica imposible de olvidar '

pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick .

like smoke signals , the film is also imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama

. . . quite endearing .

a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .

the movie 's accumulated force still feels like an ugly knot tightening in your stomach . but is that knot from dramatic tension or a symptom of artistic malnutrition ?

told just proficiently enough to trounce its overly comfortable trappings .

this 90-minute postmodern voyage was more diverting and thought-provoking than i 'd expected it to be .

manipulative claptrap , a period-piece movie-of-the-week , plain old blarney . . . take your pick . all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .

nothing more than a mediocre trifle .

it 's good to see michael caine whipping out the dirty words and punching people in the stomach again .

the scriptwriters are no less a menace to society than the film 's characters .

. . . routine , harmless diversion and little else .

moore 's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that 's still very much playing itself out .

a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr . chicken .

despite the film 's shortcomings , the stories are quietly moving .

shreve 's graceful dual narrative gets clunky on the screen , and we keep getting torn away from the compelling historical tale to a less-compelling soap opera .

affirms the gifts of all involved , starting with spielberg and going right through the ranks of the players -- on-camera and off -- that he brings together .

a family-friendly fantasy that ends up doing very little with its imaginative premise .

the streets , shot by cinematographer michael ballhaus , may be as authentic as they are mean , but it is nearly impossible to care about what happens on them .

'moore is like a progressive bull in a china shop , a provocateur crashing into ideas and special-interest groups as he slaps together his own brand of liberalism . '

portentous and pretentious , the weight of water is appropriately titled , given the heavy-handedness of it drama .

the long-range appeal of `` minority report `` should transcend any awards it bags . this is one for the ages .

a mesmerizing cinematic poem from the first frame to the last .

my oh my , is this an invigorating , electric movie .

exceptionally well acted by diane lane and richard gere .

an intimate contemplation of two marvelously messy lives .

dreary tale of middle-class angst

with dickens ' words and writer-director douglas mcgrath 's even-toned direction , a ripping good yarn is told .

with not a lot of help from the screenplay ( proficient , but singularly cursory ) , [ testud ] acts with the feral intensity of the young bette davis .

fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix .

the film offers an intriguing what-if premise .

a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world .

graham greene 's novel of colonialism and empire is elevated by michael caine 's performance as a weary journalist in a changing world .

the result puts a human face on derrida , and makes one of the great minds of our times interesting and accessible to people who normally could n't care less .

the movie exists for its soccer action and its fine acting .

you can tell almost immediately that welcome to collinwood is n't going to jell .

its inescapable absurdities are tantamount to insulting the intelligence of anyone who has n't been living under a rock ( since sept . 11 ) .

van wilder does n't bring anything new to the proverbial table , but it does possess a coherence absent in recent crass-a-thons like tomcats , freddy got fingered , and slackers .

there 's nothing to gain from watching they . it is n't scary . it hates its characters . it finds no way to entertain or inspire its viewers .

no wonder they 're talking about `` talk to her . `` it 's astonishing .

the acting , for the most part , is terrific , although the actors must struggle with the fact that they 're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans .

it plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave `` framework is even remotely new or interesting .

extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten .

an important movie , a reminder of the power of film to move us and to make us examine our values .

the action here is unusually tame , the characters are too simplistic to maintain interest , and the plot offers few surprises .

tsai may be ploughing the same furrow once too often .

the plot twists give i am trying to break your heart an attraction it desperately needed .

these three films form a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people .

nicks refuses to let slackers be seen as just another teen movie , which means he can be forgiven for frequently pandering to fans of the gross-out comedy .

as vulgar as it is banal .

the culmination of everyone 's efforts is given life when a selection appears in its final form [ in `` last dance `` ] .

just offbeat enough to keep you interested without coming close to bowling you over .

there are some wonderfully fresh moments that smooth the moral stiffness with human kindness and hopefulness .