Datasets:

VocabVictor

/

mr

like 0

intimate and panoramic .

little more than a frothy vanity project .

weighty and ponderous but every bit as filling as the treat of the title .

barry convinces us he 's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful .

even a hardened voyeur would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .

all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad .

good-naturedly cornball sequel .

a very stylish but ultimately extremely silly tale . . . a slick piece of nonsense but nothing more .

none of this is very original , and it is n't particularly funny .

bullock 's complete lack of focus and ability quickly derails the film

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 .

eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you do n't care who fires the winning shot .

it 's just rather leaden and dull .

with the film 's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved .

the universal theme of becoming a better person through love has never been filmed more irresistibly than in 'baran . '

shot largely in small rooms , the film has a gentle , unforced intimacy that never becomes claustrophobic .

has not so much been written as assembled , frankenstein-like , out of other , marginally better shoot-em-ups .

anemic , pretentious .

[ an ] absorbing documentary .

it 's a testament to de niro and director michael caton-jones that by movie 's end , we accept the characters and the film , flaws and all .

it 's a nicely detailed world of pawns , bishops and kings , of wagers in dingy backrooms or pristine forests .

all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .

the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms . . . is a nonstop hoot .

cho 's fearless in picking apart human foibles , not afraid to lay her life bare in front of an audience . her delivery and timing are flawless .

what remains is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip .

culkin turns his character into what is basically an anti-harry potter -- right down to the gryffindor scarf .

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

an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .

the movie starts with a legend and ends with a story that is so far-fetched it would be impossible to believe if it were n't true . this is the stuff that disney movies are made of .

the pain , loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze .

a so-so , made-for-tv something posing as a real movie .

the spalding gray equivalent of a teen gross-out comedy .

the problem is not that it 's all derivative , because plenty of funny movies recycle old tropes . the problem is that van wilder does little that is actually funny with the material .

strong setup and ambitious goals fade as the film descends into unsophisticated scare tactics and b-film thuggery .

although based on a real-life person , john , in the movie , is a rather dull person to be stuck with for two hours .

it would n't be my preferred way of spending 100 minutes or $ 7 . 00 .

it 's the humanizing stuff that will probably sink the film for anyone who does n't think about percentages all day long .

the story has some nice twists but the ending and some of the back-story is a little tired . the performances are all solid ; it merely lacks originality to make it a great movie .

a tremendous piece of work .

an unremittingly ugly movie to look at , listen to , and think about , it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .

technically , the film is about as interesting as an insurance commercial .

the screenplay sabotages the movie 's strengths at almost every juncture . all the characters are stereotypes , and their interaction is numbingly predictable .

i was trying to decide what annoyed me most about god is great . . . i 'm not , and then i realized that i just did n't care .

full of detail about the man and his country , and is well worth seeing .

. . . a somber film , almost completely unrelieved by any comedy beyond the wistful everyday ironies of the working poor .

it should be mentioned that the set design and interiors of the haunted vessel are more than effectively creepy and moodily lit . so i just did .

a laughable -- or rather , unlaughable -- excuse for a film .

aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .

unfortunately , as a writer , mr . montias is n't nearly as good to his crew as he is as a director or actor .

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

perhaps even the slc high command found writer-director mitch davis 's wall of kitsch hard going .

sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .

writer/director alexander payne ( election ) and his co-writer jim taylor brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing .

it 's an unusual , thoughtful bio-drama with a rich subject and some fantastic moments and scenes .

the script is smart and dark - hallelujah for small favors .

a quiet treasure -- a film to be savored .

personal velocity ought to be exploring these women 's inner lives , but it never moves beyond their surfaces .

benefits from a strong performance from zhao , but it 's dong jie 's face you remember at the end .

the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up .

it 's endearing to hear madame d . refer to her husband as 'jackie ' -- and he does make for excellent company , not least as a self-conscious performer .

the entire movie is about a boring , sad man being boring and sad .

there are just too many characters saying too many clever things and getting into too many pointless situations . where 's the movie here ?

romanek keeps adding flourishes -- artsy fantasy sequences -- that simply feel wrong . they cheapen the overall effect .

because the film deliberately lacks irony , it has a genuine dramatic impact ; it plays like a powerful 1957 drama we 've somehow never seen before .

the movie stays afloat thanks to its hallucinatory production design .

jolting into charleston rhythms , the story has the sizzle of old news that has finally found the right vent ( accurate ? who cares ? ) .

fubar is very funny , but not always in a laugh-out-loud way .

beautifully crafted and cooly unsettling . . . recreates the atmosphere of the crime expertly .

the irwins ' scenes are fascinating ; the movie as a whole is cheap junk and an insult to their death-defying efforts .

windtalkers blows this way and that , but there 's no mistaking the filmmaker in the tall grass , true to himself .

some stunning visuals -- and some staggeringly boring cinema .

reggio 's trippy , ambitious downer can also sometimes come across like nothing more than a glorified nike ad .

two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .

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 .

i wish i could say `` thank god it 's friday `` , but the truth of the matter is i was glad when it was over .

there are times when you wish that the movie had worked a little harder to conceal its contrivances , but brown sugar turns out to be a sweet and enjoyable fantasy .

de niro may enjoy the same free ride from critics afforded to clint eastwood in the lazy bloodwork . but like bruce springsteen 's gone-to-pot asbury park , new jersey , this sad-sack waste of a movie is a city of ruins .

ultimately the project comes across as clinical , detached , uninvolving , possibly prompting audience members to wonder , 'what 's the point ? '

this is a very fine movie -- go see it .

. . . hudlin is stuck trying to light a fire with soggy leaves .

one of those exceedingly rare films in which the talk alone is enough to keep us involved .

`` brown sugar `` admirably aspires to be more than another `` best man `` clone by weaving a theme throughout this funny film .

even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .

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

compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder .

the movie has an avalanche of eye-popping visual effects .

whenever it threatens to get bogged down in earnest dramaturgy , a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us . if horses could fly , this is surely what they 'd look like .

as underwater ghost stories go , below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle .

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

the film 's images give a backbone to the company and provide an emotional edge to its ultimate demise .

the overall feel is not unlike watching a glorified episode of `` 7th heaven . ``

despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it .

a lot more dimensional and complex than its sunny disposition would lead you to believe .

intelligent and moving .

the christ allegory does n't work because there is no foundation for it

throughout , mr . audiard 's direction is fluid and quick .

an involving true story of a chinese actor who takes up drugs and winds up in an institution -- acted mostly by the actual people involved .

kitschy , flashy , overlong soap opera .

heartwarming and gently comic even as the film breaks your heart .

seagal ran out of movies years ago , and this is just the proof .