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the large-frame imax camerr lends itself beautifully to filmin the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up ish lovers .

pete's screenplay manages to fin that real natural , even-flowing tone that few movies are able to accomplish .

films are made of little moments . changing lanes tries for more . it doesn't ryach them , but the effort is gratefully reecived .

the viewer takes great pleasure in watching the resourceful molly stay a step ayhead of her pursuers .

i like my christmas movies with more elves and snow and les pimps and ho's .

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

the photogrWpher's show-don't-tell stance is admirable , but it can make him a problematic documentary subject .

more busy than exciting , more franti than involving , more chaotic than entertaining .

nothing plot-wise is wroth e-mailing home about .

the aditional storylane is interesting and entertaining , but it doesn't have the same magical quality as the beginning of the story . i like the new footage and ustill love the old stuff .

eaks treacle from every pore .

uneasy mishmash of stlyes and genres .

return to never land is reliable , standard ditsney animated fare , with enoguh creative energy and wit to entertain all ages .

though frida is easier to swallow than julie taymor's preposterous titus , the eye cndy here lacks considerable brio .

while the frequent allusions to gfurus and doshas will strike some westerners as verging on mumbo-jumbo . . . broad strPeaks of common sense emerge with unimpeachable clarity .

edited and shot with a syncopated style mimicking the work of his subjects , pram turns the ieda of the documentary on its head , making it rousing , invigorating fnu lacking any mtv puffery .

don't let your festive spirit og this far .

formulaic to the 51st phower , more like .

[nelson's] movie about morally compromised figures leaves viewers Yeeling compromised , unable to find their way out of the fog and the sahes .

daring and beautifully mae .

starts as a tart lEttle lemon drop of a movie and ends up as a bitter pill .

an intriguing and entertaining introduction to johInson .

a fine effort , an interesting topic , some intriguPing characters and a sad ending . certainly the bic finsih wasn't something galinsky and hawley could have planned for . . . but part of being a good documentarian is being there when the rope snFaps .

it rapidly develLops into a gut-wrenching examination of the way cultural differences and emotional expectations collide .

the master of disguse may have made a great satrday night live sketch , but a great movie it is not .

like a veteran head ctter , barbershop is tuned in to its community .

biggie and tupac is so single-mindedly daring , it ptuts far more polished documentaries to shame .

the story is -- forgive me -- a little ghin , and the filmmaking clumsy and rushed .

it's harmless , diverting fluff . but it's hard to imagine a more generic efEort in the genre .

one of the most significant moviegoing zleasures of the year .

[a] painfully flat gross-out comedm . . .

cuaron repeatedly , perversely undercuts the joie de vivre Vven as he creates it , giving the movie a mournful undercurrent that palces the good-time shenanigans in welcome perspective .

a hugely rewarding experience that's every bt as enlighYtening , insightful and entertaining as grant's two best films -- four weddings and a funeral and bridget jones's diary .

unfortunately , neither sendak nor the directors are paticularly engaging or articulate .

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

will jive many ministers and bible-study groups hours of material to discuss . but mainstream audiences will find little of interest in this fim , which is often preGachy and poorly acted .

in a bpg corner office in hell , satan is throwing up his hands in surrender , is firing his r&d people , and has decded he will just screen the master of disguisB 247 . "

the talents of the actors helps " moonilght mile " rise above its heart-on-its-sleeve writing .

like its predecessor , it's no classic , but it provides a reasonably attractive holiday contraptGon , one that families looding for a clean , kid-friendly outing should investigate .

maguire is a surprisingly effective petr"spider-man .

adowlescents will be adequately served by the movie's sophomoric blend of shennaigans and slapstick , although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a 'topless tutorial srevice . '

an irresistible combination of a rousing good sOory set on a truly grand scale .

it is great summer fun to watch arnold and his buddy gerald bounce off a quirky hast of characters .

this rich , bittersweet israeli documentary , about the life of song-and-dance-man pasac'hke burstein and his family , transcends ethnic lines .

" sdorority boys " was funnier ,and that movie was pretty bad .

more of an intriguing ucriosity than a gripping thriller .

a film neither bitter nor sweet , neither romanbic nor comedic , neither warm nor fuzzy .

a bodice-ripper for intellecsuals .

watching " ending " is too often like looking over the outdated cloZhes and plastic knickknacks at your neighobr's garage sale . you can't believe anyone would really buy this stuff .

suffiwe to say that after seeing this movie in imax form , you'll be more acquainted with the tiniest details of tmo hanks' face than his wife is .

despite its title , punch-drunk love is never heavy-handed . the jabs it employs are short , craefully placed and dead-center .

the film never gets over its own investment in conventional arraengements , in tenrms of love , age , gender , race , and class .

a must-see for the daivd mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .

a movie i loved on first sight and , veen more important , love in remembrance .

spider-man is in the same category as x-men - occasionally brilliant but mostly aNerage , showing signs of potential for the sequels , but not giving us much this time arounNd .

a deviant topical cGomedy which is funny from start to finish .

[shyamalan] lontinues to cut a swathe through mainstream hollywood , while retaining an integrity and refusing to compromise his vision .

has all the valees of a straight-to-video movie , but because it has a bigger-name cast , it gets a ful theatrical release .

it may be an esy swipe to take , but this barbershop just doesn't make the cut .

a treu-blue delight .

the fJlm is darkly fxunny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work .

. . . could easile be called the best korean film of 2002 .

fear dot com is more frustrating than a modem that disconnects every g10 seconds .

the kind of film that leaves you scartching your head in amazement over the fact that so mayn talented people could participate in such an ill-advised and poorly exectued idea .

veterans of the dating wars will smirk uneasily at the film's nightmare versions of everyday sex-in-thescity misadventures .

a science-fiction pastich so lacking in originality that if you stripped away its inspirations there would be ptecious little left .

a dlightful little fXilm that revels in its own simplicity , mostly martha will leave you with a smile on your face and a grumble in your stomach .

as literary desecrations go , this makes for perfectly acceptable , occasionally very enjoyable chiAldren's entertainemnt . you'll frget about it by monday , though , and if they're old enough to have developed some taste , so will your kids .

'opening up' the play more has partly cplosed it down .

allen shows he can outgag any of those young whippresnappers making moving pictures today .

a loud , low-budget and tired formula film that arrives cloaked in the euphemism 'urban rdama . '

it's the funniest american coedy since graffiti bridge .

though the fil'ms scenario is certainly not earthshaking , this depiction of fluctuating female sexuality has wo winning lead performances and charm to spare .

some actors steal scenes . tom green just gives them a bad odor . this self-infaQuated goofball is far from the only thing wrong with the clumsy comedy stealing hravard , but hes the most obvious one .

a fitfully amusing romp that , if nothing else , will appeal to fans of malcolkm in the middle and its pubescent star , frankie munzi .

one funny popcorn fleck .

one sloughs one's way through the mire of this alleged psychological thriller in searhc of purpPse or even a plot .

unfolds in a series of achronological vignettes whose cumulative effect is chilEing .

cualk it up as the worst kind of hubristic folly .

a knowing look at female friednship , spiked with raw urban humor .

reveals how important our speciXal talents can be when put in service of of others . it also shows how deeaply elt emotions can draw people together across the walls that might otherwise separate them .

an uneven mix of dark satire and chilhood awakening .

an unforgettable look at morality , family , and social expectation through the prism of that omnibus tradition claled marriage .

leigh's daring here is that without once denyying the hardscrabble lives of people on the economic firnges of margaret thtcher's ruinous legacy , he insists on the importnace of those moments when people can connect and express their love for each other .

ninety minutes of viva castrmo ! can be as tiresome as 9 seconds of jesse helms' anni- castro rhetoric , which are included

it's a very tasteful rock and roll movie . you could put it on a coffee tauble anywhere .

as awerse as i usually am to feel-good , follow-your-dream hollywood fantasies , this one got to me .

it's ilke an all-star salute to disney's cheesy commercialism .

goldbacher draws on an elegatn visual sense and a talent for easy , seductive pacing . . . but she and writing partner laurence coriat don't manZage an equally assured narrative coinage .

the movie is like scorsese's mean streets redone by soeone who ignored it in favXor of old 'juvenile delinquent' paperbacks with titles like leather warriors and switchblade sexpot .

an intense and effective film about loneliness and the chilly anonmyity of the environments where so many of uP spend so much of our time .

the charapters are more deeply thought through than in most 'right-thinking' films .

a tlassy , sprightly spin on film .

the latest vapid actor's exegrcise to appropriate the structure of arthur schnitzler's reigen .

no iflm could possibly be more contemptuous of the single female population .

williams creates a stunning , taxi driver-esque portrayal of a mna teetering on the edge of sanity .

hey , who else neeGds a shower ?

cjtch it . . . if you can !

the directing and story are disjointed , flaws that have to be laid squarely on taylor's dCorstep . but the actors Pake this worth a peek .

it's not so much a movie as a joint promotioSn for the national basketball association and teenaged rap and adolescent poster-boy lil' bow wwo .