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a generic family comedy unlikely to be appreciated by anyone outside the under-10 set .

contains the humor , characterization , poignancy , and intelligence of a bad sitcom .

bittersweet comedy/drama full of life , hand gestures , and some really adorable italian guys .

an engaging criminal romp that will have viewers guessing just who 's being conned right up to the finale .

the screenplay , co-written by director imogen kimmel , lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .

you can not guess why the cast and crew did n't sign a pact to burn the negative and the script and pretend the whole thing never existed .

ram dass fierce grace moulds itself as an example to up-and-coming documentarians , of the overlooked pitfalls of such an endeavour .

a joyous occasion

about amy 's cuteness , amy 's career success ( she 's a best-selling writer of self-help books who ca n't help herself ) , and amy 's neuroses when it comes to men .

i simply ca n't recommend it enough .

secretary is just too original to be ignored .

without resorting to hyperbole , i can state that kissing jessica stein may be the best same-sex romance i have seen .

ms . seigner and mr . serrault bring fresh , unforced naturalism to their characters .

even if the ring has a familiar ring , it 's still unusually crafty and intelligent for hollywood horror .

this film 's relationship to actual tension is the same as what christmas-tree flocking in a spray can is to actual snow : a poor -- if durable -- imitation .

may offend viewers not amused by the sick sense of humor .

the setting turns out to be more interesting than any of the character dramas , which never reach satisfying conclusions .

on the surface , it 's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz 's and kieslowski 's earlier work , films like the double life of veronique .

simone is not a bad film . it just does n't have anything really interesting to say .

the plot is straight off the shelf , the performances are television- caliber and the message of providing solace through deception is a little creepy .

too much of nemesis has a tired , talky feel .

even if it made its original release date last fall , it would 've reeked of a been-there , done-that sameness .

the attempt is courageous , even if the result is wildly uneven .

beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce . . . lies a plot cobbled together from largely flat and uncreative moments .

who needs mind-bending drugs when they can see this , the final part of the 'qatsi ' trilogy , directed by godfrey reggio , with music by philip glass ?

if the first men in black was money , the second is small change . but it still jingles in the pocket . it 's fun lite .

much of what is meant to be 'inspirational ' and 'uplifting ' is simply distasteful to audiences not already sharing [ the movie 's ] mindset .

though only 60 minutes long , the film is packed with information and impressions .

adaptation 's success in engaging the audience in the travails of creating a screenplay is extraordinary .

whether writer-director anne fontaine 's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .

the story and structure are well-honed . fresnadillo 's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .

elicits more groans from the audience than jar jar binks , scrappy doo and scooby dumb , all wrapped up into one .

by turns pretentious , fascinating , ludicrous , provocative and vainglorious .

less funny than it should be and less funny than it thinks it is .

how this one escaped the lifetime network i 'll never know .

because the intelligence level of the characters must be low , very low , very very low , for the masquerade to work , the movie contains no wit , only labored gags .

[ t ] he ideas of revolution # 9 are more compelling than the execution

what started out as a taut contest of wills between bacon and theron , deteriorates into a protracted and borderline silly chase sequence .

irwin is so earnest that it 's hard to resist his pleas to spare wildlife and respect their environs . there are far worse messages to teach a young audience , which will probably be perfectly happy with the sloppy slapstick comedy .

unlike the nauseating fictions peddled by such 'have-yourself-a-happy-little-holocaust ' movies as life is beautiful and jakob the liar , the grey zone is honest enough to deny the possibility of hope in auschwitz .

[ e ] ventually , every idea in this film is flushed down the latrine of heroism .

instead of hiding pinocchio from critics , miramax should have hidden it from everyone .

harks back to a time when movies had more to do with imagination than market research .

most of the things that made the original men in black such a pleasure are still there .

shyamalan should stop trying to please his mom .

a captivatingly quirky hybrid of character portrait , romantic comedy and beat-the-clock thriller .

this heist flick about young brooklyn hoods is off the shelf after two years to capitalize on the popularity of vin diesel , seth green and barry pepper . it should have stayed there .

. . . planos fijos , tomas largas , un ritmo pausado y una sutil observaciM-sn de sus personajes , sin estridencias ni grandes revelaciones .

symbolically , warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .

funny and , at times , poignant , the film from director george hickenlooper all takes place in pasadena , `` a city where people still read . ``

[ screenwriter ] pimental took the farrelly brothers comedy and feminized it , but it is a rather poor imitation .

kept aloft largely by a comically adept ensemble .

downbeat , period-perfect biopic hammers home a heavy-handed moralistic message .

. . . an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you 'll wonder if lopez 's publicist should share screenwriting credit .

the storylines are woven together skilfully , the magnificent swooping aerial shots are breathtaking , and the overall experience is awesome .

if you 're willing to have fun with it , you wo n't feel cheated by the high infidelity of unfaithful .

a crude teen-oriented variation on a theme that the playwright craig lucas explored with infinitely more grace and eloquence in his prelude to a kiss .

robinson 's web of suspense matches the page-turning frenzy that clancy creates .

a stylish cast and some clever scripting solutions help chicago make the transition from stage to screen with considerable appeal intact .

helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .

you watch for that sense of openness , the little surprises .

while undercover brother is definitely one for the masses , it 's also full of sharp , smart satire .

nicely combines the enigmatic features of 'memento ' with the hallucinatory drug culture of 'requiem for a dream . '

longley has constructed a remarkably coherent , horrifically vivid snapshot of those turbulent days .

the parts are better than the whole ( bizarre , funny , tragic - like love in new york ) .

the master of disguise is funny -- not `` ha ha `` funny , `` dead circus performer `` funny . and for all the wrong reasons besides .

wanker goths are on the loose ! run for your lives !

displaying about equal amounts of naivetM-i , passion and talent , beneath clouds establishes sen as a filmmaker of considerable potential .

this is as lax and limp a comedy as i 've seen in a while , a meander through worn-out material .

a harrowing account of a psychological breakdown .

the most brilliant work in this genre since the 1984 uncut version of sergio leone 's flawed but staggering once upon a time in america .

remember the kind of movie we were hoping `` ecks vs . sever `` or `` xxx `` was going to be ? this is it .

a quirky comedy set in newfoundland that cleverly captures the dry wit that 's so prevalent on the rock .

the film is a verbal duel between two gifted performers .

no screen fantasy-adventure in recent memory has the showmanship of clones ' last 45 minutes .

watching haneke 's film is , aptly enough , a challenge and a punishment . but watching huppert , a great actress tearing into a landmark role , is riveting .

squandering his opportunity to make absurdist observations , burns gets caught up in the rush of slapstick thoroughfare .

a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day .

i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale -- you wo n't be sorry !

staggeringly dreadful romance .

alain choquart 's camera barely stops moving , portraying both the turmoil of the time and giving conduct a perpetual sense of urgency , which , for a film that takes nearly three hours to unspool , is both funny and irritating .

what sets ms . birot 's film apart from others in the genre is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents .

it 's mired in a shabby script that piles layer upon layer of action man clichM-i atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of [ woo 's ] best work .

the film is ultimately about as inspiring as a hallmark card .

'rare birds ' tries to force its quirkiness upon the audience .

a well-crafted letdown .

let 's cut to the consumer-advice bottom line : stay home .

tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth .

an ambitious , serious film that manages to do virtually everything wrong ; sitting through it is something akin to an act of cinematic penance .

i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory .

this movie is something of an impostor itself , stretching and padding its material in a blur of dead ends and distracting camera work .

a low-rent retread of the alien pictures .

this is carion 's debut feature but his script and direction hums with a confidence that many spend entire careers trying to reach .

plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .

. . . a story , an old and scary one , about the monsters we make , and the vengeance they take .

is it a comedy ? a drama ? a romance ? a cartoon ?

for all the charm of kevin kline and a story that puts old-fashioned values under the microscope , there 's something creepy about this movie .

the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity .

i hate the feeling of having been slimed in the name of high art .

exciting documentary .