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the results , if not memorable , are at least interesting .

more intellectually scary than dramatically involving .

red dragon `` never cuts corners .

such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .

passably entertaining but also mechanical and joyless .

not so much farcical as sour .

hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .

there 's a lot to recommend read my lips .

it 's a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's .

roman coppola may never become the filmmaker his dad was , but heck M-^V few filmmakers will . but based on cq , i 'll certainly be keeping an eye out for his next project .

sensual , funny and , in the end , very touching .

don michael paul uses quick-cuts , ( very ) large shadows and wide-angle shots taken from a distance to hide the liberal use of a body double ( for seagal ) .

one funny popcorn flick .

the actors are forced to grapple with hazy motivations that never come into focus .

the story the movie tells is of brian de palma 's addiction to the junk-calorie suspense tropes that have all but ruined his career .

is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?

being author wells ' great-grandson , you 'd think filmmaker simon wells would have more reverence for the material . but this costly dud is a far cry from either the book or the beloved film .

more of a career curio than a major work .

it 's not a classic spy-action or buddy movie , but it 's entertaining enough and worth a look .

it 's unlikely we 'll see a better thriller this year .

it may play well as a double feature with mainstream foreign mush like my big fat greek wedding

it 's a big idea , but the film itself is small and shriveled .

a very stylish but ultimately extremely silly tale . . . a slick piece of nonsense but nothing more .

unfortunately , it appears that [ jackie ] chan 's us influence is starting to show in his hong kong films .

contrived , awkward and filled with unintended laughs , the film shows signs that someone other than the director got into the editing room and tried to improve things by making the movie go faster .

stealing harvard will dip into your wallet , swipe 90 minutes of your time , and offer you precisely this in recompense : a few early laughs scattered around a plot as thin as it is repetitious .

as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses .

francophiles will snicker knowingly and you 'll want to slap them .

offers a persuasive look at a defeated but defiant nation in flux .

emerges as something rare , an issue movie that 's so honest and keenly observed that it does n't feel like one .

it 's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom .

the production has been made with an enormous amount of affection , so we believe these characters love each other .

the whole affair is as predictable as can be .

. . . the story , like ravel 's bolero , builds to a crescendo that encompasses many more paths than we started with .

only a few minutes elapse before the daddy of all slashers arrives , still with the boiler suit and white mask , which look remarkably clean for a guy who has been mass-murdering since 1978 but has never been seen doing laundry .

christians sensitive to a reductionist view of their lord as a luv-spreading dr . feelgood or omnipotent slacker will feel vastly more affronted than secularists , who might even praise god for delivering such an instant camp classic .

there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but like most movie riddles , it works only if you have an interest in the characters you see .

it may not be history but then again , what if it is ? but it makes for one of the most purely enjoyable and satisfying evenings at the movies i 've had in a while .

a rote exercise in both animation and storytelling .

every bit as bogus as most disney live action family movies are -- no real plot , no real conflict , no real point .

martin scorsese cria um espetM-aculo visual que nM-co possui alma - um filme esteticamente belo , mas emocionalmente frio .

resembles a soft porn brian de palma pastiche .

as a film director , labute continues to improve .

it may be a somewhat backhanded compliment to say that the film makes the viewer feel like the movie 's various victimized audience members after a while , but it also happens to be the movie 's most admirable quality

it 's traditional moviemaking all the way , but it 's done with a lot of careful period attention as well as some very welcome wit .

guy gets girl , guy loses girl , audience falls asleep .

the actors are fantastic . they are what makes it worth the trip to the theatre .

tends to pile too many `` serious issues `` on its plate at times , yet remains fairly light , always entertaining , and smartly written .

a technically well-made suspenser . . . but its abrupt drop in iq points as it races to the finish line proves simply too discouraging to let slide .

the real charm of this trifle is the deadpan comic face of its star , jean reno , who resembles sly stallone in a hot sake half-sleep .

there is very little dread or apprehension , and though i like the creepy ideas , they are not executed with anything more than perfunctory skill .

auto focus is not your standard hollywood bio-pic . schrader aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness .

odd and weird .

fluffy neo-noir hiding behind cutesy film references .

no surprises .

the plot is romantic comedy boilerplate from start to finish .

one of the most plain , unimaginative romantic comedies i 've ever seen .

a few artsy flourishes aside , narc is as gritty as a movie gets these days .

it 's supposed to be a humorous , all-too-human look at how hope can breed a certain kind of madness -- and strength -- but it never quite adds up .

this tuxedo . . . should have been sent back to the tailor for some major alterations .

a resonant tale of racism , revenge and retribution .

it 's about individual moments of mood , and an aimlessness that 's actually sort of amazing .

flaunts its quirky excesses like a new year 's eve drunk sporting a paper party hat .

a reminder that beyond all the hype and recent digital glitz , spielberg knows how to tell us about people .

this strenuously unfunny showtime deserves the hook .

this dubious product of a college-spawned ( colgate u . ) comedy ensemble known as broken lizard plays like a mix of cheech and chong and chips .

sometimes we feel as if the film careens from one colorful event to another without respite , but sometimes it must have seemed to frida kahlo as if her life did , too .

oh , it 's extreme , all right . extremely dumb . extremely confusing . extremely boring .

meandering and glacially paced , and often just plain dull .

we may get the full visceral impact of a ruthless army on the warpath but no sense of the devilish complexity of the balkans conflict .

there are a couple of things that elevate `` glory `` above most of its ilk , most notably the mere presence of duvall .

it tends to remind one of a really solid woody allen film , with its excellent use of new york locales and sharp writing

dog soldiers does n't transcend genre -- it embraces it , energizes it and takes big bloody chomps out of it .

this filmed tosca -- not the first , by the way -- is a pretty good job , if it 's filmed tosca that you want . i 'll stay with the stage versions , however , which bite cleaner , and deeper .

you really have to wonder how on earth anyone , anywhere could have thought they 'd make audiences guffaw with a script as utterly diabolical as this .

the nicest thing that can be said about stealing harvard ( which might have been called freddy gets molested by a dog ) is that it 's not as obnoxious as tom green 's freddie got fingered .

this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story 's a little weak .

the sight of the name bruce willis brings to mind images of a violent battlefield action picture , but the film has a lot more on its mind -- maybe too much .

on the bright side , it contains jesse ventura 's best work since the xfl .

although estela bravo 's documentary is cloyingly hagiographic in its portrait of cuban leader fidel castro , it 's still a guilty pleasure to watch .

a teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting , less symmetrical , less obviously cross-shaped creation .

the movie is brilliant , really . it is philosophy , illustrated through everyday events .

forget the psychology 101 study of romantic obsession and just watch the procession of costumes in castles and this wo n't seem like such a bore .

another rent installment for the ian fleming estate .

the best thing that can be said of the picture is that it does have a few cute moments .

the directive to protect the code at all costs also begins to blur as the importance of the man and the code merge

while benigni ( who stars and co-wrote ) seems to be having a wonderful time , he might be alone in that .

[ f ] rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative , the film is blazingly alive and admirable on many levels .

too intensely focused on the travails of being hal hartley to function as pastiche , no such thing is hartley 's least accessible screed yet .

funny and also heartwarming without stooping to gooeyness .

because of an unnecessary and clumsy last scene , 'swimfan ' left me with a very bad feeling .

for all its surface frenzy , high crimes should be charged with loitering -- so much on view , so little to offer .

the movie weighs no more than a glass of flat champagne .

a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them .

it 's a count for our times .

the idea of 49-year-old roberto benigni playing the wooden boy pinocchio is scary enough . the reality of the new live-action pinocchio he directed , cowrote and starred in borders on the grotesque .

the jokes are flat , and the action looks fake .

alas , the black-and-white archival footage of their act showcases pretty mediocre shtick .

writer/ director m . night shyamalan 's ability to pull together easily accessible stories that resonate with profundity is undeniable .

this sort of cute and cloying material is far from zhang 's forte and it shows .