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peppering this urban study with references to norwegian folktales , villeneuve creates in maelstrom a world where the bizarre is credible and the real turns magical .

girlfriends are bad , wives are worse and babies are the kiss of death in this bitter italian comedy .

to call this film a lump of coal would only be to flatter it .

as ex-marine walter , who may or may not have shot kennedy , actor raymond j . barry is perfectly creepy and believable .

as broad and cartoonish as the screenplay is , there is an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism .

the humor isn't as sharp , the effects not as innovative , nor the story as imaginative as in the original . but it could have been worse .

bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .

it is life affirming and heartbreaking , sweet without the decay factor , funny and sad .

if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic .

no surprises .

the film does a solid job of slowly , steadily building up to the climactic burst of violence .

everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .

no one but a convict guilty of some truly heinous crime should have to sit through the master of disguise .

a surprisingly sweet and gentle comedy .

meyjes' provocative film might be called an example of the haphazardness of evil .

the problem , amazingly enough , is the screenplay .

brainy , artistic and muted , almost to the point of suffocation .

in many ways , reminiscent of 1992's unforgiven which also utilized the scintillating force of its actors to draw out the menace of its sparse dialogue .

the movie has generic virtues , and despite a lot of involved talent , seems done by the numbers .

eric schweig and graham greene both exude an air of dignity that's perfect for the proud warrior that still lingers in the souls of these characters .

for most of its footage , the new thriller proves that director m . night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .

a meatier deeper beginning and/or ending would have easily tipped this film into the " a " range , as is , it's a very very strong " b+ . " i love the robust middle of this picture .

pascale bailly's rom-com provides amélie's audrey tautou with another fabuleux destin -- i . e . , a banal spiritual quest .

. . . with the gifted pearce on hand to keep things on semi-stable ground dramatically , this retooled machine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself .

it's hard to quibble with a flick boasting this many genuine cackles , but notorious c . h . o . still feels like a promising work-in-progress .

an endearingly offbeat romantic comedy with a great meet-cute gimmick .

funny and also heartwarming without stooping to gooeyness .

the jokes are telegraphed so far in advance they must have been lost in the mail .

in between the icy stunts , the actors spout hilarious dialogue about following your dream and 'just letting the mountain tell you what to do . '

. . . quite endearing .

weaves a spell over you , with its disturbingly close-up look at damaged psyches and its subtle undercurrents of danger . but its awkward structure keeps breaking the spell .

. . . tackling a low-budget movie in which inexperienced children play the two main characters might not be the best way to cut your teeth in the film industry .

it cannot be enjoyed , even on the level that one enjoys a bad slasher flick , primarily because it is dull . yes , dull .

should have been worth cheering as a breakthrough but is devoid of wit and humor .

despite its promising cast of characters , big trouble remains a loosely tied series of vignettes which only prove that 'zany' doesn't necessarily mean 'funny . '

a compelling motion picture that illustrates an american tragedy .

michele is a such a brainless flibbertigibbet that it's hard to take her spiritual quest at all seriously .

i found it slow , predictable and not very amusing .

the talk-heavy film plays like one of robert altman's lesser works .

wiseman is patient and uncompromising , letting his camera observe and record the lives of women torn apart by a legacy of abuse .

despite apparent motives to the contrary , it ends up being , like [seinfeld's] revered tv show , about pretty much nothing .

although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america .

candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .

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

it's a film that hinges on its casting , and glover really doesn't fit the part .

i have two words to say about reign of fire . great dragons !

the movie is amateurish , but it's a minor treat .

[dong] makes a valiant effort to understand everyone's point of view , and he does such a good job of it that family fundamentals gets you riled up .

an incredibly thoughtful , deeply meditative picture that neatly and effectively captures the debilitating grief felt in the immediate aftermath of the terrorist attacks .

a real clunker . a well-made , thoughtful , well-acted clunker , but a clunker nonetheless .

the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness .

this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director .

a ragbag of cliches .

the setting is so cool that it chills the characters , reducing our emotional stake in the outcome of " intacto's " dangerous and seductively stylish game .

julie davis is the kathie lee gifford of film directors , sadly proving once again ego doesn't always go hand in hand with talent .

a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass .

like its title character , this nicholas nickleby finds itself in reduced circumstances -- and , also like its hero , it remains brightly optimistic , coming through in the end .

a psychological thriller with a smart script and an obsessive-compulsive's attention to detail .

an eccentric little comic/thriller deeply in love with its own quirky personality .

maybe it's the star power of the cast or the redundant messages , but something aboul " full frontal " seems , well , contrived .

if [jaglom's] latest effort is not the director at his most sparkling , some of its repartee is still worth hearing .

light , cute and forgettable .

a well-made but emotionally scattered film whose hero gives his heart only to the dog .

fast-paced and wonderfully edited , the film is extremely thorough .

generally , clockstoppers will fulfill your wildest fantasies about being a different kind of time traveler , while happily killing 94 minutes .

an enjoyable above average summer diversion .

it would be hard to think of a recent movie that has worked this hard to achieve this little fun .

a morose little soap opera about three vapid , insensitive people who take turns hurting each other . it's a feature-length adaptation of one of those " can this marriage be saved ? " columns from ladies home journal . . .

a haunting tale of murder and mayhem .

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' ?

it's a good film , but it falls short of its aspiration to be a true 'epic' .

bartleby is a one-joke movie , and a bad joke at that .

it treats women like idiots .

garcía bernal and talancón are an immensely appealing couple , and even though their story is predictable , you'll want things to work out .

an estrogen opera so intensely feminine that it serves as the antidote ( and cannier doppelganger ) to diesel's xxx flex-a-thon .

the film might have been more satisfying if it had , in fact , been fleshed out a little more instead of going for easy smiles .

i guess it just goes to show that if you give a filmmaker an unlimited amount of phony blood , nothing good can happen .

leigh succeeds in delivering a dramatic slap in the face that's simultaneously painful and refreshing .

the film may not hit as hard as some of the better drug-related pictures , but it still manages to get a few punches in .

i liked the movie , but i know i would have liked it more if it had just gone that one step further . i'm left slightly disappointed that it didn't .

preposterous and tedious , sonny is spiked with unintentional laughter that , unfortunately , occurs too infrequently to make the film even a guilty pleasure .

resurrection has the dubious distinction of being a really bad imitation of the really bad blair witch project .

if it's seldom boring , well , it's also rarely coherent .

an awful movie that will only satisfy the most emotionally malleable of filmgoers .

just another disjointed , fairly predictable psychological thriller .

with spy kids 2 : the island of lost dreams writer/director/producer robert rodriguez has cobbled together a film that feels like a sugar high gone awry .

an acceptable way to pass a little over an hour with moviegoers ages 8-10 , but it's unlikely to inspire anything more than a visit to mcdonald's , let alone some savvy street activism .

solaris is rigid and evasive in ways that soderbergh's best films , " erin brockovich , " " out of sight " and " ocean's eleven , " never were .

all analyze that proves is that there is really only one movie's worth of decent gags to be gleaned from the premise .

where janice beard falters in its recycled aspects , implausibility , and sags in pace , it rises in its courageousness , and comedic employment .

it is refreshingly undogmatic about its characters .

pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .

as directed by dani kouyate of burkina faso , sia lacks visual flair . but kouyate elicits strong performances from his cast , and he delivers a powerful commentary on how governments lie , no matter who runs them .

an overwrought taiwanese soaper about three people and their mixed-up relationship .

it's a solid movie about people whose lives are anything but .

britney spears' phoniness is nothing compared to the movie's contrived , lame screenplay and listless direction .

it's [ricci's] best work yet , this girl-woman who sincerely believes she can thwart the world's misery with blind good will .

an afterschool special without the courage of its convictions .

a boring , formulaic mix of serial killers and stalk'n'slash .

it's a fanboy 'what if ? ' brought to life on the big screen .