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its well of thorn and vinegar ( and simple humanity ) has long been plundered by similar works featuring the insight and punch this picture so conspicuously lacks .

rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories .

overall , interesting as a documentary -- but not very imaxy .

. . . myers has turned his franchise into the movie version of an adolescent dirty-joke book done up in post-tarantino pop-culture riffs . . .

adam sandler 's 8 crazy nights is 75 wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie .

there is a welcome lack of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure .

the lousy john q all but spits out denzel washington 's fine performance in the title role .

. . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver 's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around )

viewed on its own terms , treasure planet is better-than-average family entertainment , but true fans of the stevenson 's novel will likely prefer disney 's more faithful 1950 live-action swashbuckling classic .

scherfig , the writer-director , has made a film so unabashedly hopeful that it actually makes the heart soar . yes , soar .

this film is so slick , superficial and trend-hoppy , that it 's easy to imagine that a new software program spit out the screenplay .

a culture clash comedy only half as clever as it thinks it is .

a bit of an unwieldy mess .

has enough gun battles and throwaway humor to cover up the yawning chasm where the plot should be .

often demented in a good way , but it is an uneven film for the most part .

a thoroughly entertaining comedy that uses grant 's own twist of acidity to prevent itself from succumbing to its own bathos .

sunk by way too much indulgence of scene-chewing , teeth-gnashing actorliness .

zhuangzhuang creates delicate balance of style , text , and subtext that 's so simple and precise that anything discordant would topple the balance , but against all odds , nothing does .

[ less a movie than ] an appalling , odoriferous thing . . . so rotten in almost every single facet of production that you 'll want to crawl up your own * * * in embarrassment .

a funny film .

eight legged freaks is clever and funny , is amused by its special effects , and leaves you feeling like you 've seen a movie instead of an endless trailer .

so aggressively cheery that pollyana would reach for a barf bag .

while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii .

if it 's not entirely memorable , the movie is certainly easy to watch .

showtime is a fine-looking film with a bouncy score and a clutch of lively songs for deft punctuation .

confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .

you 're not merely watching history , you 're engulfed by it .

shadyac shoots his film like an m . night shyamalan movie , and he frequently maintains the same snail 's pace ; he just forgot to add any genuine tension .

hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound .

the script manages the rare trick of seeming at once both refreshingly different and reassuringly familiar .

once she lets her love depraved leads meet , [ denis ' ] story becomes a hopeless , unsatisfying muddle

brilliantly explores the conflict between following one 's heart and following the demands of tradition .

as teen movies go , `` orange county `` is a refreshing change

exhibits the shallow sensationalism characteristic of soap opera . . . more salacious telenovela than serious drama .

green ruins every single scene he 's in , and the film , while it 's not completely wreaked , is seriously compromised by that .

what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points .

while van wilder may not be the worst national lampoon film , it 's far from being this generation 's animal house .

the characters are interesting and the relationship between yosuke and saeko is worth watching as it develops , but there 's not enough to the story to fill two hours .

for this sort of thing to work , we need agile performers , but the proficient , dull sorvino has no light touch , and rodan is out of his league .

[ director peter ] jackson and his crew have so steeped themselves in the majesty of tolkien 's writing that every frame produces new joys , whether you 're a fan of the books or not .

return to never land is much more p . c . than the original version ( no more racist portraits of indians , for instance ) , but the excitement is missing .

the leads we are given here are simply too bland to be interesting .

might best be enjoyed as a daytime soaper .

'ejemplo de una cinta en que no importa el talento de su reparto o lo interesante que pudo haber resultado su premisa , pues el resultado es francamente aburrido y , por momentos , deplorable . '

all ends well , sort of , but the frenzied comic moments never click .

comes across as a fairly weak retooling .

despite the premise of a good story . . . it wastes all its star power on cliched or meaningless roles .

wobbly senegalese updating of `` carmen `` which is best for the stunning star turn by djeinaba diop gai

low comedy does n't come much lower .

huston nails both the glad-handing and the choking sense of hollow despair .

i realized that no matter how fantastic reign of fire looked , its story was making no sense at all .

the action quickly sinks into by-the-numbers territory .

a glossy knock-off of a b-movie revenge flick .

suffers from a decided lack of creative storytelling .

the movie 's vision of a white american zealously spreading a puritanical brand of christianity to south seas islanders is one only a true believer could relish .

if you do n't flee , you might be seduced . if you do n't laugh , flee .

god help the poor woman if attal is this insecure in real life : his fictional yvan 's neuroses are aggravating enough to exhaust the patience of even the most understanding spouse .

femme fatale offers nothing more than a bait-and-switch that is beyond playing fair with the audience . are we dealing with dreams , visions or being told what actually happened as if it were the third ending of clue ?

bielinsky is a filmmaker of impressive talent .

if you have n't seen the film lately , you may be surprised at the variety of tones in spielberg 's work . much of it is funny , but there are also some startling , surrealistic moments . . .

are monsters born , or made ?

blue crush is as predictable as the tides . . . . the movie feels stitched together from stock situations and characters from other movies .

there 's a whole heap of nothing at the core of this slight coming-of-age/coming-out tale .

sweetly sexy , funny and touching .

robinson 's web of suspense matches the page-turning frenzy that clancy creates .

even legends like alfred hitchcock and john huston occasionally directed trifles . . . so it 's no surprise to see a world-class filmmaker like zhang yimou behind the camera for a yarn that 's ultimately rather inconsequential .

purports to be a hollywood satire but winds up as the kind of film that should be the target of something deeper and more engaging . oh , and more entertaining , too .

though not for everyone , the guys is a somber trip worth taking .

the movie is a trove of delights .

an enchanting film that presents an audacious tour of the past and takes within its warm embrace the bounties of cultural artifacts inside st . petersburg 's hermitage museum .

. . . really horrible drek .

M-^E is an arthritic attempt at directing by callie khouri . i had to look away - this was god awful .

chris columbus ' sequel is faster , livelier and a good deal funnier than his original .

[ seems ] even more uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .

the filmmakers try to balance pointed , often incisive satire and unabashed sweetness , with results that are sometimes bracing , sometimes baffling and quite often , and in unexpected ways , touching .

trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and the pay-off is negligible .

cattaneo should have followed the runaway success of his first film , the full monty , with something different .

too daft by half . . . but supremely good natured .

`` auto focus `` works as an unusual biopic and document of male swingers in the playboy era

less front-loaded and more shapely than the two-hour version released here in 1990 .

handsome and sincere but slightly awkward in its combination of entertainment and evangelical boosterism .

his comedy premises are often hackneyed or just plain crude , calculated to provoke shocked laughter , without following up on a deeper level .

tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience .

alternately frustrating and rewarding .

like a comedian who starts off promisingly but then proceeds to flop , comedian runs out of steam after a half hour .

hollywood ending just is n't very funny .

'easily my choice for one of the year 's best films . '

a thoughtful , moving piece that faces difficult issues with honesty and beauty .

bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who are n't looking for them .

hip-hop prison thriller of stupefying absurdity .

the production design , score and choreography are simply intoxicating .

unfortunately , a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .

due to stodgy , soap opera-ish dialogue , the rest of the cast comes across as stick figures reading lines from a teleprompter .

partway through watching this saccharine , easter-egg-colored concoction , you realize that it is made up of three episodes of a rejected tv show .

like its bizarre heroine , it irrigates our souls .

denis and co-writer michele petin 's impeccable screenplay penetrates with a rawness that that is both unflinching and tantalizing . lead provocatuers testud and parmentier give superlative performances

flounders due to the general sense that no two people working on the production had exactly the same thing in mind .

an entertaining documentary that freshly considers arguments the bard 's immortal plays were written by somebody else .

this off-putting french romantic comedy is sure to test severely the indulgence of fans of amM-ilie .

the modern-day characters are nowhere near as vivid as the 19th-century ones .