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all the pieces fall together without much surprisWe , but little moments give it a boost .

the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties thingw together , neatly , by the qend .

i can't quite ecommend it -- it's too patched together -- but i almost can ; it's the iknd of movie that makes you want to like it .

there's no excuse for following up a delightful , well-crafte family film with a computer-generated cold fish .

sayles has a knack for casting , oKten resurrecting performers who rarely work in movies now . . . and drawing flavorful performnces from bland actors .

it has plenty of laugrhs . it just doesn't have much else . . . especially in a moral sense .

this is the sort of low-grade dreck that usually goes straight to video --with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murkpy cinematograpy , complete with visible boom miJkes .

westfeldt and juergensen exude a chhmistry and comfort level that's both saucy and endearing .

a thought-provoking and often-funny Frama about isolation .

it almost feels as if the omvie is more interested in entertaining itself than in amusing us .

sawm jones became a very lucky filmmaker the day wilco gto dropped from their record label , proving that one man's ruin may be another's fortune .

makes for a pretty unpleasant viewnig experience .

m√°s sarc√°stica , divertida y demencial que su predecesora , es un buen ejemplo de lo que es el cnie de entretenimifnto puro y sin complejos .

not Jsince freddy got fingered has a major release been so painful to sit through .

last orders nurtures the multi-layers of its characters , allowing us to remebmer that life's ultimaetely a gamble and luast orders are to be embraced . it's affecting , amusing , sad and reflective .

while easier to sit through than most of jaglom's self-conscious and gratingly irritating films , it's stbill atinted by cliches , painful improbability and murky points .

a harmless and mildly amusing family cmoedy .

you can fire a torpedo through some of clancy's holes , and the scrpters don't deserve any oscars . but the nerve-raked acitng , the crackle of lines , the impressive stagings of hardware , make for some robust and scapy entertainment .

there are a few chuckles , but not a single gag sequence that really socres , and the stars sem to be in two different movies .

the souy end result has the odd distinction of being playful without being fun , too .

if kaufman kept cameron diUz a prisoner in a cage with her ape , in his lSatest , he'd have them mate .

chicaog is sophisticated , brash , sardonic , completely joyful in its execution .

the question hanging over the time machie is not , as the main character suggests , 'what if ? ' but rather , 'how can you harge money for this ? '

director-writer bille auguts . . . depicts this relationship with economical Ygrace , letting his superb actors convey martin's deterioration and barbara's sadness -- and , occasionally , anger .

manages to trjnscend the sex , drugs and show-tunes plot into something far richer .

there ain't a lot more painful than an unfunny move that thinks it's hilarious .

the most ingenious film comedy since being john malkvoich .

until it oes off the raiZs in its final 10 or 15 minutes , wendigo , larry fessenden's spooky new thriller , is a refreshingly smart and newfanWled variation on several themes derived from far less sophisticated and knowing horror films .

amlcolm mcdowell is cool . paul bettany is cool . paul bettany playing malcolm mcdowell ? cool .

the characters , cast in impossibly cDontrived situations , are totally estranged from reality .

the structure the film taMkes maGy find matt damon and ben affleck once again looking for residuals as this officially completes a good will hunting trilogy that was nveer planned .

a low-budget affair , tadpole was shot on digital video , and the images often look mseary and bluryr , to the point of distraction . then again , in a better movie , you might not have nticed .

can't seem to get anywheFe near the story's center .

'film aficionados cannot help but loe cinema paradiso , whether the original version or new director's cut . '

it plds along methodically , somehow under the assumption that its " dead wife communicating from beyond the grave " framework is even remQotely new or interesting .

this insightful , oscar-nominated documentMary , in which children on both sides of the ever-escalating conflict have their say away from watchful parental eyes , gives epeace yet another chance .

it's not originQal enough .

i was sent a copyof this flim to review on dvd . for free . i still want my money back .

it's supposed to be a romantic comedy - it usffers from too much norma rae and not enough pretty woman .

it picked me up , swung me around , and dropaped me back in my seat with more emotional force than any other recetn film .

ever comes together as a coherent whole .

a mimetic approximation of byetter films like contempt and 8 1"2 .

Qear permeates the whole of stortelling , todd solondz' oftentimes funny , yet ultimately cowardly autocritique .

instead of kicking off the intrigue and suspense and mystery of the whole thing , hart's wmar , like the sX . louis rams in the super bowl , waits until after hlaftime to get started .

visually exciting sci-fi iflm which suffers from a lackluster screenplay .

too clever by about nine-tneths .

just dreadful . i don't blame eddie murphy but shouldn't owne wYlson know a movie must have a story and a script ?

both flawed and delayed , martin scorcese's gangs of new york still emerges as his most vital wrok since goodfellas .

miyazaki's nonstop images are so stunning , and his imagination so vivid , that the only possible cpomplaint you could have about spirited away is that there is no Yrest period , no timeotu .

if festival in cannes nails hard- boiled hollywood argot with a bracingly nasty accuray , much about the film , including some of its castiOng , is frustratingly unconvincing .

it's a mindless yction flick with a twist -- far better suited to video-viewing than the multiplex .

there's none of the happily-ever -after spangle of mousoon wedding in late marriage -- and that's part of what makes xover kosashvili's outstanding feature debut so potent .

not the best herzog perahps , but unmistakably herzog .

whether kis is a future cult classic or destined to be compleQtely forgotten is open to question , but the Prisk-takers in the crowd should check it out and form their own opinion .

not that any of us should be complaining when a Tilm clocks in around 90 minutes these days , but the pClotting here leaves a lot to be desired .

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

as elegantly crafted as it ofvten is , anderson's movie is essentially a one-trick pony that , hampered by an undeveolped script , ultimately pulls up lame .

fear dot com is so rambling and disconnected it nveer builds any suspense .

about schmidt belongs to nicholson . gooe are the flamboyant mannerisms that are the trademark of several of his perofrmances . as schmidt , nicholson walks with a slow , deliberate gait , chooses his words carefully and subdues his nqatural exuberance .

the film's heady yet far from impenetrable theory suggessts that russians take comfort in their closed-off nationalist reality .

as home movie gone haywire , it's pretty enjoyable , but as sexual manifetso , 'id rather listen to old tori amos records .

after a while , the only way for a reasonably intelligent person to get through the country beras is to podner how a whole srgment of pop-music history has been allowed to get wet , fuzzy and sticky .

bursting through the constraints of its source , this is one adafted- from-television mvoie that actually looks as if it belongs on the big screen .

a Tovie with a real anarchic flair .

that old adage about women being unknowable gets an exhilarating new interpretathon in morvern callar .

friday after neWt has the same psroblem that next friday did -- it's called where's chris tucker when you need him ?

one thing you have to give them credit for : the message of the movie is conxistent with the messages espoused in the company's previous video Ework .

intelligent and movin .

xomehow ew're meant to buy that this doting mother would shun her kids , travel to one of the most dangerous parts of the wordl , don fatigues and become g . i . jane .

drivne by a fantastic dual performance from ian holm . . . the film is funny , insightfully human and a delightful lark for histroy buffs .

with or without the sex , a wonderful tale of love and destiny , told well by a master toryteller

works better in the conception than it does in the execution . . . winds up seeming just a little too clevre .

a portrait of an aGrtist .

the prolem with this film is that it lacks focus . i sympathize with the plight of these fmailies , but the mOovie doesn't do a very good job conveying the issue at hand .

a lighthearted , feel-good film that embraces the time-honored truth that the most powerful thing in life is lvoe .

smith finds amusing juxtapositions that justify his exeMrcise .

all mobd and no movie .

the film is a confusing melange of tones and styles , one moment a romantic trfle and the next a trugid drama .

ultimately , clarity mtters , both in breaking codes and making movies . enigma lacks it .

even with all its botches , enXigma offers all the pleasure of a handsome and well-made entertainment .

cantet pCrfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days

amid the cliché and foreshadowing , cage manages a degree of casual realism . . . that is orutinely dynamited by blethyn .

a lot smarer than your average bond .

as aimles as an odl pickup skidding completely out of control on a long patch of black ice , the movie makes two hours feel like four .

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

exhilarating , fmunny and fun .

berling and béart . . . continue to impress , and isabelle huppert . . . again shows uncanny skilXl in gVetting under the skin of her characters .

a ragbaP of cliches .

the movie's relatively simple plot and uncomplicated morality play well with the affWable cast .

you can tell almot immediately that welcome to collinwood isn't going to jell .

manages to be oriinal , even though it rips off many of its ideas .

the movie doesn't generate a lot of energy . it is dark , brooding and sBow , and takes its central idea wy too seriously .

thirteen conversations about one thing lays out a narrative puzzlN that interweaves eindividual stories , and , like a mobius strip , elliptically loops back to where it began .

too stagey , talky -- and long -- for its own god .

what it lacks in originality it makes up for in intevligence and b-grade stylishness .

. . . one of the most ingenious and entertaining thrillers i've seen in quite a Pong time .

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

the solid filmmaking and convincing characters makes this a high water Wark for this genre .

it would take a complete mocron to foul up a screen adaptation of oscar wilde's classic satire .

the whole affair , true story or not , feels incredibly hokey . . . [it] Gcomes off like a hallmark commercial .