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the star who helped give a spark to `` chasing amy `` and `` changing lanes `` falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears . ``

it 's a rollicking adventure for you and all your mateys , regardless of their ages .

the soul-searching deliberateness of the film , although leavened nicely with dry absurdist wit , eventually becomes too heavy for the plot .

there 's absolutely no reason why blue crush , a late-summer surfer girl entry , should be as entertaining as it is

offers that rare combination of entertainment and education .

several degrees shy of the gross-out contests one expects from current teen fare .

it 's that rare family movie -- genuine and sweet without relying on animation or dumb humor .

dismally dull sci-fi comedy .

it 's always fascinating to watch marker the essayist at work .

bogdanovich tantalizes by offering a peep show into the lives of the era 's creme de la celluloid .

the fourth `` pokemon `` is a diverting -- if predictable -- adventure suitable for a matinee , with a message that cautions children about disturbing the world 's delicate ecological balance .

harland williams is so funny in drag he should consider permanent sex-reassignment .

it 's the kind of movie that ends up festooning u . s . art house screens for no reason other than the fact that it 's in french ( well , mostly ) with english subtitles and is magically 'significant ' because of that .

a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women .

eastwood winces , clutches his chest and gasps for breath . it 's a spectacular performance - ahem , we hope it 's only acting .

long on twinkly-eyed close-ups and short on shame .

the film is like a series of beginnings and middles that never take off .

an entertaining , if ultimately minor , thriller .

majidi 's direction has never been smoother or more confident .

what makes esther kahn so demanding is that it progresses in such a low-key manner that it risks monotony . but it 's worth the concentration .

many shallower movies these days seem too long , but this one is egregiously short .

there are n't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs . the big guys .

an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves .

a good thriller .

i like this movie a lot . i like that smith , he 's not making fun of these people , he 's not laughing at them .

no amount of arty theorizing -- the special effects are 'german-expressionist , ' according to the press notes -- can render it anything but laughable .

serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .

but even with the two-wrongs-make-a-right chemistry between jolie and burns . . . this otherwise appealing picture loses its soul to screenwriting for dummies conformity .

hey arnold ! the movie is what happens when you blow up small potatoes to 10 times their natural size , and it ai n't pretty .

it 's tough to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo .

an unorthodox little film noir organized crime story that includes one of the strangest love stories you will ever see .

it makes compelling , provocative and prescient viewing .

it 's hard not to feel you 've just watched a feature-length video game with some really heavy back story .

to paraphrase a line from another dickens ' novel , nicholas nickleby is too much like a fragment of an underdone potato .

this is for the most part a useless movie , even with a great director at the helm .

if you 're not a prepubescent girl , you 'll be laughing at britney spears ' movie-starring debut whenever it does n't have you impatiently squinting at your watch .

to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again . . . that in itself is commentary enough .

an hour and a half of joyful solo performance .

a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish .

. . . the movie is just a plain old monster .

when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , 'hey , kool-aid ! '

your taste for jonah - a veggie tales movie may well depend on your threshold for pop manifestations of the holy spirit .

unlike most surf movies , blue crush thrillingly uses modern technology to take the viewer inside the wave . by the end you ca n't help but feel 'stoked . '

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

the filmmakers skillfully evoke the sense of menace that nature holds for many urban dwellers .

this one aims for the toilet and scores a direct hit .

no better or worse than 'truth or consequences , n . m . ' or any other interchangeable actioner with imbecilic mafia toolbags botching a routine assignment in a western backwater .

the heedless impetuousness of youth is on full , irritating display in [ this ] meandering and pointless french coming-of-age import from writer-director anne-sophie birot .

a great idea becomes a not-great movie .

the amazing film work is so convincing that by movies ' end you 'll swear you are wet in some places and feel sand creeping in others .

'god help us , but capra and cooper are rolling over in their graves . '

the film 's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .

the 3d images only enhance the film 's otherworldly quality , giving it a strange combo of you-are-there closeness with the disorienting unreality of the seemingly broken-down fourth wall of the movie screen .

the wild thornberrys movie has all the sibling rivalry and general family chaos to which anyone can relate .

bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he 'll get the girl . he 's super spy !

the emotion is impressively true for being so hot-blooded , and both leads are up to the task .

compassionately explores the seemingly irreconcilable situation between conservative christian parents and their estranged gay and lesbian children .

lacking gravitas , macdowell is a placeholder for grief , and ergo this sloppy drama is an empty vessel . leave these flowers unpicked -- they 're dead on the vine .

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

deliciously slow .

an engrossing iranian film about two itinerant teachers and some lost and desolate people they encounter in a place where war has savaged the lives and liberties of the poor and the dispossessed .

a film neither bitter nor sweet , neither romantic nor comedic , neither warm nor fuzzy .

nicks sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit .

the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing .

less an examination of neo-nazism than a probe into the nature of faith itself .

the movie 's ultimate point -- that everyone should be themselves -- is trite , but the screenwriter and director michel gondry restate it to the point of ridiculousness .

a slick , well-oiled machine , exquisitely polished and upholstered .

an unclassifiably awful study in self- and audience-abuse .

about schmidt is nicholson 's goofy , heartfelt , mesmerizing king lear .

you do n't know whether to admire the film 's stately nature and call it classicism or be exasperated by a noticeable lack of pace . or both .

martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes and frustrations vivid .

because eight legged freaks is partly an homage to them , tarantula and other low- budget b-movie thrillers of the 1950s and '60s , the movie is a silly ( but not sophomoric ) romp through horror and hellish conditions .

although fairly involving as far as it goes , the film does n't end up having much that is fresh to say about growing up catholic or , really , anything .

combines improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end , we are undeniably touched .

it 's got all the familiar bruckheimer elements , and schumacher does probably as good a job as anyone at bringing off the hopkins/rock collision of acting styles and onscreen personas .

rarely do films come along that are as intelligent , exuberant , and moving as monsoon wedding .

those outside show business will enjoy a close look at people they do n't really want to know .

for all the complications , it 's all surprisingly predictable .

. . . myers has turned his franchise into the movie version of an adolescent dirty-joke book done up in post-tarantino pop-culture riffs . . .

sad nonsense , this . but not without cheesy fun factor .

any film featuring young children threatened by a terrorist bomb can no longer pass as mere entertainment .

a strong script , powerful direction and splendid production design allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being .

works as pretty contagious fun .

an important movie , a reminder of the power of film to move us and to make us examine our values .

as relationships shift , director robert j . siegel allows the characters to inhabit their world without cleaving to a narrative arc .

comedian , like its subjects , delivers the goods and audiences will have a fun , no-frills ride .

do n't be fooled by the impressive cast list - eye see you is pure junk .

the cast , collectively a successful example of the lovable-loser protagonist , shows deft comic timing .

is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?

you would n't call the good girl a date movie ( an anti-date movie is more like it ) , but when it 's good , it 's good and horrid .

dazzles with its fully-written characters , its determined stylishness ( which always relates to characters and story ) and johnny dankworth 's best soundtrack in years .

the sum of all fears pretends to be a serious exploration of nuclear terrorism , but it 's really nothing more than warmed-over cold war paranoia .

warmed-over tarantino by way of wannabe elmore leonard .

it understands , in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking .

as the story moves inexorably through its seven day timeframe , the picture becomes increasingly mesmerizing .

despite an overwrought ending , the film works as well as it does because of the performances .

is n't it a bit early in his career for director barry sonnenfeld to do a homage to himself ? and it 's a lousy one at that .

peter jackson and company once again dazzle and delight us , fulfilling practically every expectation either a longtime tolkien fan or a movie-going neophyte could want .

until ( the ) superfluous . . . epilogue that leaks suspension of disbelief like a sieve , die another day is as stimulating & heart-rate-raising as any james bond thriller .

a thoroughly entertaining comedy that uses grant 's own twist of acidity to prevent itself from succumbing to its own bathos .