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it 's refreshing to see a romance this smart .

murderous maids may well be the most comprehensive of these films and also strike closest to the truth .

the entire movie is about a boring , sad man being boring and sad .

evokes the 19th century with a subtlety that is an object lesson in period filmmaking .

suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .

if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances .

quite funny for the type of movie it is . . .

in a strange way , egoyan has done too much . he 's worked too hard on this movie .

'dragonfly ' is a movie about a bus wreck that turns into a film wreck .

the hanukkah spirit seems fried in pork .

michel piccoli 's moving performance is this films reason for being .

it all looks and plays like a $ 40 million version of a game you 're more likely to enjoy on a computer .

though the opera itself takes place mostly indoors , jacquot seems unsure of how to evoke any sort of naturalism on the set .

astonishing is n't the word -- neither is incompetent , incoherent or just plain crap . indeed , none of these words really gets at the very special type of badness that is deuces wild .

cantet beautifully illuminates what it means sometimes to be inside looking out , and at other times outside looking in .

a little too pat for its own good .

though it lacks the utter authority of a genre gem , there 's a certain robustness to this engaging mix of love and bloodletting .

lM-astima por schwarzenegger , pero es hora de que deje la estafeta a las nuevas generaciones .

anyway , for one reason or another , crush turns into a dire drama partway through . after that , it just gets stupid and maudlin . too bad , but thanks to some lovely comedic moments and several fine performances , it 's not a total loss .

much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart . their work is fantastic .

oh come on . like you could n't smell this turkey rotting from miles away .

the characters are never more than sketches . . . which leaves any true emotional connection or identification frustratingly out of reach .

standing in the shadows of motown is the best kind of documentary , one that makes a depleted yesterday feel very much like a brand-new tomorrow .

one of those pictures whose promising , if rather precious , premise is undercut by amateurish execution .

but this is not a movie about an inhuman monster ; it 's about a very human one .

some body is a shaky , uncertain film that nevertheless touches a few raw nerves .

baran is n't the most transporting or gripping film from iran -- or , indeed , by its director -- but it 's a worthy companion to the many fine , focused films emerging from that most surprising of nations .

while super troopers is above academy standards , its quintet of writers could still use some more schooling .

ringu is a disaster of a story , full of holes and completely lacking in chills . ignore the reputation , and ignore the film .

peter jackson has done the nearly impossible . he has improved upon the first and taken it a step further , richer and deeper . what jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery

this time out , [ sade ] is an unsettlingly familiar figure -- in turns loyal and deceitful , responsible and reckless , idealistically selfless and coldly self-interested .

what 'dumb and dumber ' would have been without the vulgarity and with an intelligent , life-affirming script .

with notorious c . h . o . cho proves she has the stuff to stand tall with pryor , carlin and murphy .

a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop .

viewers will need all the luck they can muster just figuring out who 's who in this pretentious mess .

in questioning the election process , payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .

creepy but ultimately unsatisfying thriller .

robin williams departs from his fun friendly demeanor in exchange for a darker unnerving role .

none of this is very original , and it is n't particularly funny .

you will likely prefer to keep on watching .

cannon 's confidence and laid-back good spirits are , with the drumming routines , among the film 's saving graces .

some episodes work , some do n't .

[ serry ] wants to blend politics and drama , an admirable ambition . it 's too bad that the helping hand he uses to stir his ingredients is also a heavy one .

as a hybrid teen thriller and murder mystery , murder by numbers fits the profile too closely .

plays like a volatile and overlong w magazine fashion spread .

it grabs you in the dark and shakes you vigorously for its duration .

as a thoughtful and unflinching examination of an alternative lifestyle , sex with strangers is a success .

a rollicking ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending .

even when he 's not at his most critically insightful , godard can still be smarter than any 50 other filmmakers still at work .

hugely entertaining from start to finish , featuring a fall from grace that still leaves shockwaves , it will gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels .

as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos ' memories and insights .

scotland , pa . is a strangely drab romp . some studio pizazz might have helped .

coppola 's directorial debut is an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema .

an encouraging effort from mccrudden

this is as respectful a film as byatt fans could hope for , though lovers of the book may wonder why it 's necessary .

one from the heart .

. . . a pretentious and ultimately empty examination of a sick and evil woman .

at the end of the movie , my 6-year-old nephew said , `` i guess i come from a broken family , and my uncles are all aliens , too . `` congrats disney on a job well done , i enjoyed it just as much !

despite its raucous intent , xxx is as conventional as a nike ad and as rebellious as spring break .

sandra bullock , despite downplaying her good looks , carries a little too much ain't- she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff .

the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity .

like being trapped at a perpetual frat party . . . how can something so gross be so boring ?

the world needs more filmmakers with passionate enthusiasms like martin scorsese . but it does n't need gangs of new york .

as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm .

helmer devito . . . attempts to do too many things in this story about ethics , payola , vice , murder , kids ' tv and revenge .

piercingly affecting . . . while clearly a manipulative film , emerges as powerful rather than cloying .

`` what really happened ? `` is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience .

a solidly constructed , entertaining thriller that stops short of true inspiration .

[ jackson and bledel ] seem to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd .

it just did n't mean much to me and played too skewed to ever get a hold on ( or be entertained by ) .

feels like pieces a bunch of other , better movies slapped together .

the real question this movie poses is not 'who ? ' but 'why ? '

whatever satire lucky break was aiming for , it certainly got lost in the `` soon-to-be-forgettable `` section of the quirky rip-off prison romp pile . it 's petty thievery like this that puts flimsy flicks like this behind bars

a lovably old-school hollywood confection .

a surprisingly charming and even witty match for the best of hollywood 's comic-book adaptations .

why spend $ 9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?

i 'm sure mainstream audiences will be baffled , but , for those with at least a minimal appreciation of woolf and clarissa dalloway , the hours represents two of those well spent .

the film has the thrown-together feel of a summer-camp talent show : hastily written , underrehearsed , arbitrarily plotted and filled with crude humor and vulgar innuendo .

an ambitious , guilt-suffused melodrama crippled by poor casting .

there 's an excellent 90-minute film here ; unfortunately , it runs for 170 .

a well-made thriller with a certain level of intelligence and non-reactionary morality .

`` the quiet american `` begins in saigon in 1952 . that 's its first sign of trouble .

large budget notwithstanding , the movie is such a blip on the year 's radar screen that it 's tempting just to go with it for the ride . but this time , the old mib label stands for milder is n't better .

the combination of lightness and strictness in this instance gives italian for beginners an amiable aimlessness that keeps it from seeming predictably formulaic .

`` feardotcom `` has the makings of an interesting meditation on the ethereal nature of the internet and the otherworldly energies it could channel , but it simply becomes a routine shocker .

`` catch me `` feels capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark .

the level of acting elevates the material above pat inspirational status and gives it a sturdiness and solidity that we 've long associated with washington the actor .

the story has little wit and no surprises .

a thunderous ride at first , quiet cadences of pure finesse are few and far between ; their shortage dilutes the potency of otherwise respectable action . still , this flick is fun , and host to some truly excellent sequences .

metaphors abound , but it is easy to take this film at face value and enjoy its slightly humorous and tender story .

mctiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .

an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .

just about everyone involved here seems to be coasting . there are a few modest laughs , but certainly no thrills .

what 's not to like about a movie with a 'children 's ' song that includes the line 'my stepdad 's not mean , he 's just adjusting ' ?

mostly honest , this somber picture reveals itself slowly , intelligently , artfully .

it 's anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair .

if you can get past the fantastical aspects and harsh realities of `` the isle `` you 'll get a sock-you-in-the-eye flick that is a visual tour-de-force and a story that is unlike any you will likely see anywhere else .

a remarkably alluring film set in the constrictive eisenhower era about one suburban woman 's yearning in the face of a loss that shatters her cheery and tranquil suburban life .

a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear .

a respectable but uninspired thriller that 's intelligent and considered in its details , but ultimately weak in its impact .