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it's a diverting enough hour-and-a-half for the family audience .

a perfectly respectable , perfectly inoffensive , easily forgettable film .

boldly engineering a collision between tawdry b-movie flamboyance and grandiose spiritual anomie , rose's film , true to its source material , provides a tenacious demonstration of death as the great equalizer .

meandering and confusing .

what could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking .

[breheny's] lensing of the new zealand and cook island locations captures both the beauty of the land and the people .

sandra bullock and hugh grant make a great team , but this predictable romantic comedy should get a pink slip .

adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .

it's a loathsome movie , it really is and it makes absolutely no sense .

an infectious cultural fable with a tasty balance of family drama and frenetic comedy .

there's not much going on in this movie unless you simply decide to buy into the notion that something inexplicably strange once happened in point pleasant .

a feature-length , r-rated , road-trip version of mama's family .

like a fish that's lived too long , austin powers in goldmember has some unnecessary parts and is kinda wrong in places .

uplifting as only a document of the worst possibilities of mankind can be , and among the best films of the year .

instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence .

a moving , if uneven , success .

despite some strong performances , never rises above the level of a telanovela .

rabbit-proof fence will probably make you angry . but it will just as likely make you weep , and it will do so in a way that doesn't make you feel like a sucker .

lame , haphazard teen comedy .

nair stuffs the film with dancing , henna , ornamentation , and group song , but her narrative clichés and telegraphed episodes smell of old soap opera .

ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .

what could have been a daytime soap opera is actually a compelling look at a young woman's tragic odyssey .

this rather unfocused , all-over-the-map movie would be a lot better if it pared down its plots and characters to a few rather than dozens . . . or if it were subtler . . . or if it had a sense of humor .

this mild-mannered farce , directed by one of its writers , john c . walsh , is corny in a way that bespeaks an expiration date passed a long time ago .

the movie's messages are quite admirable , but the story is just too clichéd and too often strains credulity .

84 minutes of rolling musical back beat and supercharged cartoon warfare . it's also , clearly , great fun .

the evocative imagery and gentle , lapping rhythms of this film are infectious -- it gets under our skin and draws us in long before the plot kicks into gear .

friday after next is the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans .

inside the film's conflict-powered plot there is a decent moral trying to get out , but it's not that , it's the tension that keeps you in your seat . affleck and jackson are good sparring partners .

the film feels uncomfortably real , its language and locations bearing the unmistakable stamp of authority .

escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie .

. . . pray doesn't have a passion for the material . he nonetheless appreciates the art and reveals a music scene that transcends culture and race .

no cliche escapes the perfervid treatment of gang warfare called ces wild .

the ingenious construction ( adapted by david hare from michael cunningham's novel ) constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism

a film of delicate interpersonal dances . caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose . it's a sight to behold .

everywhere the camera looks there is something worth seeing .

supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment .

the trick when watching godard is to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them .

. . . an hour-and-a-half of inoffensive , unmemorable filler .

bubba ho-tep is a wonderful film with a bravura lead performance by bruce campbell that doesn't deserve to leave the building until everyone is aware of it .

adam sandler's 8 crazy nights is 75 wasted minutes of sandler as the voice-over hero in columbia pictures' perverse idea of an animated holiday movie .

this is lightweight filmmaking , to be sure , but it's pleasant enough -- and oozing with attractive men .

the movie generates plot points with a degree of randomness usually achieved only by lottery drawing .

a heroic tale of persistence that is sure to win viewers' hearts .

it looks good , but it is essentially empty .

audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film's tart , sugar-free wit .

bang ! zoom ! it's actually pretty funny , but in all the wrong places .

outside of burger's desire to make some kind of film , it's really unclear why this project was undertaken

paid in full is remarkably engaging despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks .

it's as raw and action-packed an experience as a ringside seat at a tough-man contest .

this surreal gilliam-esque film is also a troubling interpretation of ecclesiastes . a rewarding work of art for only the most patient and challenge-hungry moviegoers .

low comedy doesn't come much lower .

rambles on in a disjointed , substandard fashion from one poorly executed action sequence to the next .

the colorful masseur wastes its time on mood rather than riding with the inherent absurdity of ganesh's rise up the social ladder .

a tale of horror and revenge that is nearly perfect in its relentless descent to the depths of one man's tortured soul .

if you liked the 1982 film then , you'll still like it now .

a solid and refined piece of moviemaking imbued with passion and attitude .

tense , terrific , sweaty-palmed fun .

suggests puns about ingredients and soup and somebody being off their noodle , but let's just say the ingredients don't quite add up to a meal .

campanella's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael's evolution .

the sequel plays out like a flimsy excuse to give blade fans another look at wesley snipes' iconic hero doing battle with dozens of bad guys -- at once .

to get at the root psychology of this film would require many sessions on the couch of dr . freud .

a perfectly pleasant if slightly pokey comedy .

execrable .

the gags that fly at such a furiously funny pace that the only rip off that we were aware of was the one we felt when the movie ended so damned soon .

while cherish doesn't completely survive its tonal transformation from dark comedy to suspense thriller , it's got just enough charm and appealing character quirks to forgive that still serious problem .

worth seeing just for weaver and lapaglia .

a mimetic approximation of better films like contempt and 8 1/2 .

sometimes charming , sometimes infuriating , this argentinean 'dramedy' succeeds mainly on the shoulders of its actors .

serious and thoughtful .

a retread of material already thoroughly plumbed by martin scorsese .

this sade is hardly a perverse , dangerous libertine and agitator -- which would have made for better drama . he's just a sad aristocrat in tattered finery , and the film seems as deflated as he does .

this feature is about as necessary as a hole in the head

done in mostly by a weak script that can't support the epic treatment .

hollywood has taken quite a nosedive from alfred hitchcock's imaginative flight to shyamalan's self-important summer fluff .

eight crazy nights is a showcase for sandler's many talents .

. . . a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i can't believe any viewer , young or old , would have a good time here .

crudup's screen presence is the one thing that holds interest in the midst of a mushy , existential exploration of why men leave their families .

a predictable , manipulative stinker . the story passes time until it's time for an absurd finale of twisted metal , fireballs and revenge .

angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately .

even if you've seen " stomp " ( the stage show ) , you still have to see this !

the milieu is wholly unconvincing . . . and the histrionics reach a truly annoying pitch .

all three actresses are simply dazzling , particularly balk , who's finally been given a part worthy of her considerable talents .

not only is undercover brother as funny , if not more so , than both austin powers films , but it's also one of the smarter , savvier spoofs to come along in some time .

curling may be a unique sport but men with brooms is distinctly ordinary .

very well-written and very well-acted .

this is a movie full of grace and , ultimately , hope .

the action quickly sinks into by-the-numbers territory .

if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .

worthy of the gong .

denzel washington's efforts are sunk by all the sanctimony .

this is the best american movie about troubled teens since 1998's whatever .

for a guy who has waited three years with breathless anticipation for a new hal hartley movie to pore over , no such thing is a big letdown .

its story may be a thousand years old , but why did it have to seem like it took another thousand to tell it to us ?

more successful at relating history than in creating an emotionally complex , dramatically satisfying heroine

must-see viewing for anyone involved in the high-tech industry . others may find it migraine-inducing , despite moore's attempts at whimsy and spoon feeding .

despite the 2-d animation , the wild thornberrys movie makes for a surprisingly cinematic experience .

the movie strains to stay on the light , comic side of the issue , despite the difficulty of doing so when dealing with the destruction of property and , potentially , of life itself .

[crystal and de niro] manage to squeeze out some good laughs but not enough to make this silly con job sing .

it's bright , pristine style and bold colors make it as much fun as reading an oversized picture book before bedtime .