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like a three-ring circus , there are side stories aplenty -- none of them memorable .

chilling , well-acted , and finely directed : david jacobson 's dahmer .

with one exception , every blighter in this particular south london housing project digs into dysfunction like it 's a big , comforting jar of marmite , to be slathered on crackers and served as a feast of bleakness .

degenerates into hogwash .

sweet home alabama is n't going to win any academy awards , but this date-night diversion will definitely win some hearts .

a tedious parable about honesty and good sportsmanship .

the movie is amateurish , but it 's a minor treat .

tackles the difficult subject of grief and loss with such life-embracing spirit that the theme does n't drag an audience down .

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

succumbs to the same kind of maudlin , sentimental mysticism that mars the touched by an angel school of non-god spiritual-uplift movies .

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

things really get weird , though not particularly scary : the movie is all portent and no content .

romanek 's themes are every bit as distinctive as his visuals . beyond the cleverness , the weirdness and the pristine camerawork , one hour photo is a sobering meditation on why we take pictures .

a tired , predictable , bordering on offensive , waste of time , money and celluloid .

as hugh grant says repeatedly throughout the movie , 'lovely ! brilliant ! '

this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine , winds up mired in tear-drenched quicksand .

adam sandler ! in an art film !

enigma looks great , has solid acting and a neat premise . yet why it fails is a riddle wrapped in a mystery inside an enigma .

sweet and memorable film .

ritchie 's film is easier to swallow than wertmuller 's polemical allegory , but it 's self-defeatingly decorous .

director george hickenlooper has had some success with documentaries , but here his sense of story and his juvenile camera movements smack of a film school undergrad , and his maudlin ending might not have gotten him into film school in the first place .

a cruelly funny twist on teen comedy packed with inventive cinematic tricks and an ironically killer soundtrack

if it were any more of a turkey , it would gobble in dolby digital stereo . if nothing else , `` rollerball `` 2002 may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j .

yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior `` friends , family . . .

a work of extraordinary journalism , but it is also a work of deft and subtle poetry .

some fine acting , but ultimately a movie with no reason for being .

it 's hard to believe these jokers are supposed to have pulled off four similar kidnappings before .

with `` ichi the killer `` , takashi miike , japan 's wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman . . .

this rich , bittersweet israeli documentary , about the life of song-and-dance-man pasach'ke burstein and his family , transcends ethnic lines .

robin williams has thankfully ditched the saccharine sentimentality of bicentennial man in favour of an altogether darker side .

the most amazing super-sized dosage of goofball stunts any `` jackass `` fan could want .

this thing is virtually unwatchable .

stage director sam mendes showcases tom hanks as a depression era hit-man in this dark tale of revenge .

es divertida , visualmente espectacular y muy entretenida . simple y sencillamente te sorprenderM-a .

a sad , superior human comedy played out on the back roads of life .

all this turns out to be neither funny nor provocative - only dull .

as crimes go , writer-director michael kalesniko 's how to kill your neighbor 's dog is slight but unendurable .

if you ever wondered what it would be like to be smack in the middle of a war zone armed with nothing but a camera , this oscar-nominated documentary takes you there .

who is this movie for ? not kids , who do n't need the lesson in repugnance . it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are 'edgy . '

there 's just no currency in deriding james bond for being a clichM-id , doddering , misogynistic boy 's club .

competently directed but terminally cute drama .

grainy photography mars an otherwise delightful comedy of errors .

for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .

hope keeps arising that the movie will live up to the apparent skills of its makers and the talents of its actors , but it does n't .

a smart , steamy mix of road movie , coming-of-age story and political satire .

the film has several strong performances .

at a time when half the so-called real movies are little more than live-action cartoons , it 's refreshing to see a cartoon that knows what it is , and knows the form 's history .

this thing works on no level whatsoever for me .

the film might have been more satisfying if it had , in fact , been fleshed out a little more instead of going for easy smiles .

the self-serious equilibrium makes its point too well ; a movie , like life , is n't much fun without the highs and lows .

everyone 's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships .

the story is familiar from its many predecessors ; like them , it eventually culminates in the not-exactly -stunning insight that crime does n't pay .

like the tuck family themselves , this movie just goes on and on and on and on

an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character .

a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .

the good is very , very good . . . the rest runs from mildly unimpressive to despairingly awful .

paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .

propelled not by characters but by caricatures .

it collapses when mr . taylor tries to shift the tone to a thriller 's rush .

plods along , minus the twisted humor and eye-popping visuals that have made miike . . . a cult hero .

nolan proves that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure .

none of this so-called satire has any sting to it , as if woody is afraid of biting the hand that has finally , to some extent , warmed up to him .

even on those rare occasions when the narrator stops yammering , miller 's hand often feels unsure .

for the most part , i spy was an amusing lark that will probably rank as one of murphy 's better performances in one of his lesser-praised movies .

[ carvey 's ] characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .

bill morrison 's decasia is uncompromising , difficult and unbearably beautiful .

the events of the film are just so weird that i honestly never knew what the hell was coming next .

hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound .

the transporter is as lively and as fun as it is unapologetically dumb

swimming is above all about a young woman 's face , and by casting an actress whose face projects that woman 's doubts and yearnings , it succeeds .

goes on and on to the point of nausea .

an exhausting family drama about a porcelain empire and just as hard a flick as its subject matter .

a marvel like none you 've seen .

the pleasures of super troopers may be fleeting , but they 'll register strongly with anybody who still retains a soft spot for precollegiate humor .

the film has the courage of its convictions and excellent performances on its side .

in the end there is one word that best describes this film : honest .

a comedy that is warm , inviting , and surprising .

hampered -- no , paralyzed -- by a self-indulgent script . . . that aims for poetry and ends up sounding like satire .

in between the icy stunts , the actors spout hilarious dialogue about following your dream and 'just letting the mountain tell you what to do . '

there is nothing redeeming about this movie .

an eye-boggling blend of psychedelic devices , special effects and backgrounds , 'spy kids 2 ' is a visual treat for all audiences .

its strengths and weaknesses play off each other virtually to a stand-off , with the unfortunate trump card being the dreary mid-section of the film .

good-looking but relentlessly lowbrow outing plays like clueless does south fork .

best enjoyed as a work of fiction inspired by real-life events . those seeking a definitive account of eisenstein 's life would do better elsewhere .

the film grows on you . and how .

nobody seems to have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release .

there is a welcome lack of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure .

the movie has an infectious exuberance that will engage anyone with a passing interest in the skate/surf culture , the l . a . beach scene and the imaginative ( and sometimes illegal ) ways kids can make a playground out of the refuse of adults .

it 's a count for our times .

a pleasant enough movie , held together by skilled ensemble actors .

offers a breath of the fresh air of true sophistication .

an often watchable , though goofy and lurid , blast of a costume drama set in the late 15th century .

crikey indeed .

on its own cinematic terms , it successfully showcases the passions of both the director and novelist byatt .

it is a challenging film , if not always a narratively cohesive one .

brings awareness to an issue often overlooked -- women 's depression .

the pianist is polanski 's best film .

the sight of the spaceship on the launching pad is duly impressive in imax dimensions , as are shots of the astronauts floating in their cabins .

as vulgar as it is banal .

by the miserable standards to which the slasher genre has sunk , . . . actually pretty good . of course , by more objective measurements it 's still quite bad .