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although frailty fits into a classic genre , in its script and execution it is a remarkably original work .

never decides whether it wants to be a black comedy , drama , melodrama or some combination of the three .

a technical triumph and an extraordinary bore .

it 's the kind of pigeonhole-resisting romp that hollywood too rarely provides .

some elements of it really blow the big one , but other parts are decent .

though it 's not very well shot or composed or edited , the score is too insistent and the dialogue is frequently overwrought and crudely literal , the film shatters you in waves .

lovingly photographed in the manner of a golden book sprung to life , stuart little 2 manages sweetness largely without stickiness .

just one more collection of penis , breast and flatulence gags in search of a story . or a profit . or some damn thing .

as happily glib and vicious as its characters .

in scope , ambition and accomplishment , children of the century . . . takes kurys ' career to a whole new level .

leigh 's daring here is that without once denying the hardscrabble lives of people on the economic fringes of margaret thatcher 's ruinous legacy , he insists on the importance of those moments when people can connect and express their love for each other .

like a tarantino movie with heart , alias betty is richly detailed , deftly executed and utterly absorbing .

so few movies explore religion that it 's disappointing to see one reduce it to an idea that fits in a sampler .

the impulses that produced this project . . . are commendable , but the results are uneven .

instead of making his own style , director marcus adams just copies from various sources M-^V good sources , bad mixture

it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs .

suffice to say that after seeing this movie in imax form , you 'll be more acquainted with the tiniest details of tom hanks ' face than his wife is .

biggie and tupac is so single-mindedly daring , it puts far more polished documentaries to shame .

i believe silberling had the best intentions here , but he just does n't have the restraint to fully realize them .

taken outside the context of the current political climate ( see : terrorists are more evil than ever ! ) , the sum of all fears is simply a well-made and satisfying thriller .

. . . takes the beauty of baseball and melds it with a story that could touch anyone regardless of their familiarity with the sport

a pleasing , often-funny comedy .

a glossy knock-off of a b-movie revenge flick .

despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .

the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken .

while the film is not entirely successful , it still manages to string together enough charming moments to work .

a fascinating and fun film .

an almost unbearably morbid love story .

enough similarities to gymkata and howie long 's firestorm that my fingernails instinctively crawled towards my long-suffering eyeballs .

woefully pretentious .

for close to two hours the audience is forced to endure three terminally depressed , mostly inarticulate , hyper dysfunctional families for the price of one .

a 93-minute condensation of a 26-episode tv series , with all of the pitfalls of such you 'd expect .

derailed by bad writing and possibly also by some of that extensive post-production reworking to aim the film at young males in the throes of their first full flush of testosterone .

kirshner and monroe seem to be in a contest to see who can out-bad-act the other . ( kirshner wins , but it 's close . )

like old myths and wonder tales spun afresh .

buries an interesting storyline about morality and the choices we make underneath such a mountain of clichM-is and borrowed images that it might more accurately be titled mr . chips off the old block .

it is , by conventional standards , a fairly terrible movie . . . but it is also weirdly fascinating , a ready-made eurotrash cult object . it is also , at times , curiously moving .

nothing can detract from the affection of that moral favorite : friends will be friends through thick and thin .

claude chabrol 's camera has a way of gently swaying back and forth as it cradles its characters , veiling tension beneath otherwise tender movements .

the film has a terrific look and salma hayek has a feel for the character at all stages of her life .

while puerile men dominate the story , the women shine .

there are a few laughs and clever sight gags scattered about , but not enough to make this anything more than another big-budget bust .

since lee is a sentimentalist , the film is more worshipful than your random e ! true hollywood story .

on the surface a silly comedy , scotland , pa would be forgettable if it were n't such a clever adaptation of the bard 's tragic play .

though intrepid in exploring an attraction that crosses sexual identity , ozpetek falls short in showing us antonia 's true emotions . . . but at the very least , his secret life will leave you thinking .

not a film for the faint of heart or conservative of spirit , but for the rest of us -- especially san francisco lovers -- it 's a spirited film and a must-see .

i know i should n't have laughed , but hey , those farts got to my inner nine-year-old .

a remarkable movie with an unsatisfying ending , which is just the point .

like shave ice without the topping , this cinematic snow cone is as innocuous as it is flavorless .

what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .

one of the greatest family-oriented , fantasy-adventure movies ever .

despite a blue-chip cast and a provocative title , writer-director peter mattei 's first feature microwaves dull leftover romantic motifs basted in faux-contemporary gravy .

zigzag might have been richer and more observant if it were less densely plotted .

one of those so-so films that could have been much better .

the final result makes for adequate entertainment , i suppose , but anyone who has seen chicago on stage will leave the theater feeling they 've watched nothing but a pale imitation of the real deal .

brisk hack job .

you may leave the theater with more questions than answers , but darned if your toes wo n't still be tapping .

crammed with incident , and bristles with passion and energy .

while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .

what would jesus do if he was a film director ? he 'd create a movie better than this .

elvira fans could hardly ask for more .

. . . a lesson in prehistoric hilarity .

combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that 's not merely about kicking undead * * * , but also about dealing with regret and , ultimately , finding redemption .

while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast . . . have made the old boy 's characters more quick-witted than any english lit major would have thought possible .

what makes it worth watching is quaid 's performance .

i stopped thinking about how good it all was , and started doing nothing but reacting to it - feeling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visual delights .

as shaky as the plot is , kaufman 's script is still memorable for some great one-liners .

an engaging overview of johnson 's eccentric career .

not everything works , but the average is higher than in mary and most other recent comedies .

resembles a soft porn brian de palma pastiche .

there 's no mistaking the fact that this hybrid misses the impact of the disney classic , and even that of the excellent 1934 mgm version .

it 's getting harder and harder to ignore the fact that hollywood is n't laughing with us , folks . it 's laughing at us .

handsome and sophisticated approach to the workplace romantic comedy .

shamelessly resorting to pee-related sight gags that might even cause tom green a grimace ; still , myer 's energy and the silliness of it all eventually prevail

apparently writer-director attal thought he need only cast himself and his movie-star wife sitting around in their drawers to justify a film .

none of this has the suavity or classical familiarity of bond , but much of it is good for a laugh . the problem with `` xxx `` is that its own action is n't very effective .

it 's hard to tell with all the crashing and banging where the salesmanship ends and the movie begins .

without a fresh infusion of creativity , 4ever is neither a promise nor a threat so much as wishful thinking .

late marriage 's stiffness is unlikely to demonstrate the emotional clout to sweep u . s . viewers off their feet .

it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged .

a quaint , romanticized rendering .

as it turns out , you can go home again .

the superior plotline is n't quite enough to drag along the dead ( water ) weight of the other .

for this sort of thing to work , we need agile performers , but the proficient , dull sorvino has no light touch , and rodan is out of his league .

at best this is a film for the under-7 crowd . but it would be better to wait for the video . and a very rainy day .

there is more than one joke about putting the toilet seat down . and that should tell you everything you need to know about all the queen 's men .

makes for some truly odd , at times confusing , kids entertainment . . . but at least this time there 's some centered storytelling to go along with all the weird stuff .

its sheer dynamism is infectious .

spirit is a visual treat , and it takes chances that are bold by studio standards , but it lacks a strong narrative .

special p . o . v . camera mounts on bikes , skateboards , and motorcycles provide an intense experience when splashed across the immense imax screen .

all very stylish and beautifully photographed , but far more trouble than it 's worth , with fantasy mixing with reality and actors playing more than one role just to add to the confusion .

cube 's charisma and chemistry compensate for corniness and cliche .

an offbeat , sometimes gross and surprisingly appealing animated film about the true meaning of the holidays .

. . . once the true impact of the day unfolds , the power of this movie is undeniable .

see scratch for the history , see scratch for the music , see scratch for a lesson in scratching , but , most of all , see it for the passion .

the draw [ for `` big bad love `` ] is a solid performance by arliss howard .

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

mostly , [ goldbacher ] just lets her complicated characters be unruly , confusing and , through it all , human .

it all feels like a monty python sketch gone horribly wrong .

although olivier assayas ' elegantly appointed period drama seems , at times , padded with incident in the way of a too-conscientious adaptation . . . its three-hour running time plays closer to two .