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denis o'neill's script avoids the prime sports cliche , a last-second goal to win the championship , but it neglects few others .

starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other hollywood-action cliches .

cedar somewhat defuses this provocative theme by submerging it in a hoary love triangle .

an inept , tedious spoof of '70s kung fu pictures , it contains almost enough chuckles for a three-minute sketch , and no more .

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

the acting alone is worth the price of admission .

an intelligent fiction about learning through cultural clash .

feels like pieces a bunch of other , better movies slapped together .

a beautifully tooled action thriller about love and terrorism in korea .

like a skillful fisher , the director uses the last act to reel in the audience since its poignancy hooks us completely .

it's surprisingly bland despite the heavy doses of weird performances and direction .

in a 102-minute film , aaliyah gets at most 20 minutes of screen time . . . . most viewers will wish there had been more of the " queen " and less of the " damned . "

it's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature with psychic abilities offers a solid build-up , a terrific climax , and some nice chills along the way .

subversive , meditative , clinical and poetic , the piano teacher is a daring work of genius .

those unfamiliar with mormon traditions may find the singles ward occasionally bewildering .

. . . one big laugh , three or four mild giggles , and a whole lot of not much else .

lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .

one of the smartest takes on singles culture i've seen in a long time .

a smart , provocative drama that does the nearly impossible : it gets under the skin of a man we only know as an evil , monstrous lunatic .

sturdy , entertaining period drama . . . both caine and fraser have their moments .

suffocated by its fussy script and uptight characters , this musty adaptation is all the more annoying since it's been packaged and sold back to us by hollywood .

some movies blend together as they become distant memories . mention " solaris " five years from now and i'm sure those who saw it will have an opinion to share .

changing lanes is an anomaly for a hollywood movie ; it's a well-written and occasionally challenging social drama that actually has something interesting to say .

this slender plot feels especially thin stretched over the nearly 80-minute running time .

a sour , nasty offering .

exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .

[d]oesn't bother being as cloying or preachy as equivalent evangelical christian movies -- maybe the filmmakers know that the likely audience will already be among the faithful .

. . . a gleefully grungy , hilariously wicked black comedy . . .

though filmed partly in canada , paid in full has clever ways of capturing inner-city life during the reagan years .

like its bizarre heroine , it irrigates our souls .

the cast is phenomenal , especially the women .

it never fails to engage us .

it is as uncompromising as it is nonjudgmental , and makes clear that a prostitute can be as lonely and needy as any of the clients .

insomnia is one of the year's best films and pacino gives one of his most daring , and complicated , performances .

only two words will tell you what you know when deciding to see it : anthony . hopkins .

blanchett's performance confirms her power once again .

it's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene .

this isn't even madonna's swept away . this is her blue lagoon .

whatever satire lucky break was aiming for , it certainly got lost in the " soon-to-be-forgettable " section of the quirky rip-off prison romp pile . it's petty thievery like this that puts flimsy flicks like this behind bars

there's not much to fatale , outside of its stylish surprises . . . but that's ok .

cruel and inhuman cinematic punishment . . . simultaneously degrades its characters , its stars and its audience .

once the expectation of laughter has been quashed by whatever obscenity is at hand , even the funniest idea isn't funny .

confounding because it solemnly advances a daringly preposterous thesis . acting cannot be acted .

this thing is just garbage .

creepy but ultimately unsatisfying thriller .

let's cut to the consumer-advice bottom line : stay home .

it's a shame the marvelous first 101 minutes have to be combined with the misconceived final 5 .

poor ben bratt couldn't find stardom if mapquest emailed him point-to-point driving directions .

it's the cinematic equivalent of a good page-turner , and even if it's nonsense , its claws dig surprisingly deep .

even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it's documenting .

it might be tempting to regard mr . andrew and his collaborators as oddballs , but mr . earnhart's quizzical , charming movie allows us to see them , finally , as artists .

munch's screenplay is tenderly observant of his characters . he watches them as they float within the seas of their personalities . his scenes are short and often unexpected .

a terrifically entertaining specimen of spielbergian sci-fi .

the first mistake , i suspect , is casting shatner as a legendary professor and kunis as a brilliant college student--where's pauly shore as the rocket scientist ?

a vile , incoherent mess . . . a scummy ripoff of david cronenberg's brilliant 'videodrome . '

marries the amateurishness of the blair witch project with the illogic of series 7 : the contenders to create a completely crass and forgettable movie .

familiar but utterly delightful .

the best film about baseball to hit theaters since field of dreams .

. . . there's a choppy , surface-effect feeling to the whole enterprise .

smith is careful not to make fun of these curious owners of architectural oddities . instead , he shows them the respect they are due .

culkin , who's in virtually every scene , shines as a young man who uses sarcastic lies like a shield .

it's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads . it's quite another to feel physically caught up in the process .

shunji iwai's all about lily chou chou is a beautifully shot , but ultimately flawed film about growing up in japan .

with a " spy kids " sequel opening next week , why bother with a contemptible imitator starring a " snl " has-been acting like an 8-year-old channeling roberto benigni ?

the ill-conceived modern-day ending falls flat where it should deliver a moral punch .

too slick and manufactured to claim street credibility .

" what john does is heroic , but we don't condone it , " one of the film's stars recently said , a tortuous comment that perfectly illustrates the picture's moral schizophrenia .

director carl franklin , so crisp and economical in one false move , bogs down in genre cliches here .

the film starts promisingly , but the ending is all too predictable and far too cliched to really work .

huppert and girardot give performances of exceptional honesty .

the film takes too long getting to the good stuff , then takes too long figuring out what to do next .

as a vehicle to savour binoche's skill , the film is well worthwhile .

as chilling and fascinating as philippe mora's modern hitler-study , snide and prejudice .

a charming and funny story of clashing cultures and a clashing mother/daughter relationship .

with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in .

elling builds gradually until you feel fully embraced by this gentle comedy .

a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china .

clever but not especially compelling .

the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today's hollywood .

stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise , and the large cast is solid .

there are a few stabs at absurdist comedy . . . but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty .

i won't argue with anyone who calls 'slackers' dumb , insulting , or childish . . . but i laughed so much that i didn't mind .

the title trapped turns out to be a pretty fair description of how you feel while you're watching this ultra-manipulative thriller .

there is not an ounce of honesty in the entire production .

shadyac , who belongs with the damned for perpetrating patch adams , trots out every ghost trick from the sixth sense to the mothman prophecies .

with wit and empathy to spare , waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism .

purports to be a hollywood satire but winds up as the kind of film that should be the target of something deeper and more engaging . oh , and more entertaining , too .

together writer-director danny verete's three tales comprise a powerful and reasonably fulfilling gestalt .

nicole kidman evolved from star to superstar some time over the past year , which means that birthday girl is the kind of quirkily appealing minor movie she might not make for a while .

scherfig , the writer-director , has made a film so unabashedly hopeful that it actually makes the heart soar . yes , soar .

an instance of an old dog not only learning but inventing a remarkable new trick .

an even more predictable , cliche-ridden endeavor than its predecessor .

remarkably accessible and affecting .

i've never seen or heard anything quite like this film , and i recommend it for its originality alone .

a naturally funny film , home movie makes you crave chris smith's next movie .

it's refreshing to see a romance this smart .

several uninteresting , unlikeable people do bad things to and with each other in " unfaithful . " why anyone who is not a character in this movie should care is beyond me .

the cat's meow marks a return to form for director peter bogdanovich . . .

an amusing , breezily apolitical documentary about life on the campaign trail .

a movie that feels like the pilot episode of a new teen-targeted action tv series .