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. . . blade ii is more enjoyable than the original .

like rudy yellow lodge , eyre needs to take a good sweat to clarify his cinematic vision before his next creation and remember the lessons of the trickster spider .

maid in manhattan might not look so appealing on third or fourth viewing down the road . . . but as a high concept vehicle for two bright stars of the moment who can rise to fans' lofty expectations , the movie passes inspection .

all i can say is fuhgeddaboutit .

to say analyze that is de niro's best film since meet the parents sums up the sad state of his recent career .

. . . if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you're in for a painful ride .

the saturation bombing of reggio's images and glass' evocative music . . . ultimately leaves viewers with the task of divining meaning .

as a thoughtful and unflinching examination of an alternative lifestyle , sex with strangers is a success .

a porn film without the sex scenes .

more of a career curio than a major work .

britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway .

starts out strongly before quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar .

an allegory concerning the chronically mixed signals african american professionals get about overachieving could be intriguing , but the supernatural trappings only obscure the message .

amid the new populist comedies that underscore the importance of family tradition and familial community , one would be hard-pressed to find a movie with a bigger , fatter heart than barbershop .

a free-for-all of half-baked thoughts , clumsily used visual tricks and self-indulgent actor moments .

meant for star wars fans . it is there to give them a good time .

just a kiss is a just a waste .

so original in its base concept that you cannot help but get caught up .

one of the best looking and stylish animated movies in quite a while . . .

asks what truth can be discerned from non-firsthand experience , and specifically questions cinema's capability for recording truth .

there is a general air of exuberance in all about the benjamins that's hard to resist .

it's actually too sincere -- the crime movie equivalent of a chick flick .

reggio falls victim to relying on the very digital technology that he fervently scorns , creating a meandering , inarticulate and ultimately disappointing film .

proves that some movie formulas don't need messing with -- like the big-bug movie .

whether you like rap music or loathe it , you can't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .

an absorbing and unsettling psychological drama .

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

even if it ultimately disappoints , the picture does have about a matinee admission's worth of funny to keep it afloat .

while the production details are lavish , film has little insight into the historical period and its artists , particularly in how sand developed a notorious reputation .

oscar wilde's masterpiece , the importance of being earnest , may be the best play of the 19th century . it's so good that its relentless , polished wit can withstand not only inept school productions , but even oliver parker's movie adaptation .

had the film boasted a clearer , more memorable , the creepiness would have gotten under the skin .

a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .

the project's filmmakers forgot to include anything even halfway scary as they poorly rejigger fatal attraction into a high school setting .

been there , done that . . . a thousand times already , and better .

it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes .

so genial is the conceit , this is one of those rare pictures that you root for throughout , dearly hoping that the rich promise of the script will be realized on the screen . it never is , not fully .

captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted " other . "

life or something like it has its share of high points , but it misses too many opportunities .

true to its animatronic roots : . . . as stiff , ponderous and charmless as a mechanical apparatus . . . 'the country bears' should never have been brought out of hibernation .

it's like every bad idea that's ever gone into an after-school special compiled in one place , minus those daytime programs' slickness and sophistication ( and who knew they even had any ? ) .

like mike isn't interested in recycling old cliches . it wants to tweak them with a taste of tangy new humor .

an average kid-empowerment fantasy with slightly above-average brains .

control-alt-delete simone as quickly as possible

if you're really renting this you're not interested in discretion in your entertainment choices , you're interested in anne geddes , john grisham , and thomas kincaid .

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

talkiness isn't necessarily bad , but the dialogue frequently misses the mark .

you won't have any trouble getting kids to eat up these veggies .

a thriller made from a completist's checklist rather than with a cultist's passion .

ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis .

what could have been a pointed little chiller about the frightening seductiveness of new technology loses faith in its own viability and succumbs to joyless special-effects excess .

blue crush has all the trappings of an energetic , extreme-sports adventure , but ends up more of a creaky " pretty woman " retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought .

we do get the distinct impression that this franchise is drawing to a close .

bill morrison's decasia is uncompromising , difficult and unbearably beautiful .

star/producer salma hayek and director julie taymor have infused frida with a visual style unique and inherent to the titular character's paintings and in the process created a masterful work of art of their own .

hollywood's answer to an air ball .

although disney follows its standard formula in this animated adventure , it feels more forced than usual .

the scorpion king is more fun than conan the barbarian .

a film that takes you inside the rhythms of its subject : you experience it as you watch .

wallace seems less like he's been burning to tell a war story than he's been itching to somehow tack one together

shankman . . . and screenwriter karen janszen bungle their way through the narrative as if it were a series of bible parables and not an actual story .

it's fascinating to see how bettany and mcdowell play off each other .

merchant effectively translates naipaul's lively mix of characters from the page to screen .

one-of-a-kind near-masterpiece .

a chaotic panorama that's too busy flying a lot of metaphoric flags .

most thrillers send audiences out talking about specific scary scenes or startling moments ; " frailty " leaves us with the terrifying message that the real horror may be waiting for us at home .

looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights .

dull , if not devoid of wit , this shaggy dog longs to frisk through the back alleys of history , but scarcely manages more than a modest , snoozy charm .

it's worth seeing just on the basis of the wisdom , and at times , the startling optimism , of the children .

the first question to ask about bad company is why anthony hopkins is in it . we assume he had a bad run in the market or a costly divorce , because there is no earthly reason other than money why this distinguished actor would stoop so low .

a harmless and mildly amusing family comedy .

that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .

the characters are paper thin and the plot is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects .

frankly , it's pretty stupid . i had more fun with ben stiller's zoolander , which i thought was rather clever . but there's plenty to offend everyone . . .

glib , satirical documentary that fudges facts , makes facile points and engages in the cinematic equivalent of tabloid journalism .

while [hill] has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .

300 years of russian history and culture compressed into an evanescent , seamless and sumptuous stream of consciousness .

oh come on . like you couldn't smell this turkey rotting from miles away .

to the vast majority of more casual filmgoers , it will probably be a talky bore .

in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people , the movie exalts the marxian dream of honest working folk , with little to show for their labor , living harmoniously , joined in song .

barry sonnenfeld owes frank the pug big time

jackson and co have brought back the value and respect for the term epic cinema .

there's much tongue in cheek in the film and there's no doubt the filmmaker is having fun with it all .

it leaves little doubt that kidman has become one of our best actors .

. . . a trashy little bit of fluff stuffed with enjoyable performances and a bewildering sense of self-importance

star trek was kind of terrific once , but now it is a copy of a copy of a copy .

so faithful to the doldrums of the not-quite-urban , not-quite-suburban milieu as to have viewers recoiling from the reality check .

you could nap for an hour and not miss a thing .

one of the most slyly exquisite anti-adult movies ever made .

the script falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy .

you emerge dazed , confused as to whether you've seen pornography or documentary .

not as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels , but stylish and moody and exceptionally well-acted .

it's a boom-box of a movie that might have been titled 'the loud and the ludicrous' . . . the pandering to a moviegoing audience dominated by young males is all too calculated .

the funny thing is , i didn't mind all this contrived nonsense a bit .

press the delete key .

i would be shocked if there was actually one correct interpretation , but that shouldn't make the movie or the discussion any less enjoyable .

putting the primitive murderer inside a high-tech space station unleashes a pandora's box of special effects that run the gamut from cheesy to cheesier to cheesiest .

if somebody was bored and . . . decided to make a dull , pretentious version of jesus' son , they'd come up with something like bart freundlich's world traveler .

this is an extraordinary film , not least because it is japanese and yet feels universal .

it sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .

[leigh] has a true talent for drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable .