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a slapdash mess
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can be considered work
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remains the real masterpiece
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unlimited access
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about an unsympathetic character and someone who would not likely be so stupid as to get
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the life out of whatever idealism american moviemaking ever had
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hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny
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trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein 's brain .
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projects onto the screen -- loud , violent and mindless
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better acted -- and far less crass - than some other recent efforts in the burgeoning genre of films about black urban professionals
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however entertainingly presented ,
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ridiculous
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crafted , engaging filmmaking that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing .
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those exceedingly rare films in which the talk alone is enough to keep us
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gives us mostly fool 's gold
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the kind of quirkily appealing minor movie she might not make for a while
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with the kind of social texture and realism that would be foreign in american teen comedies
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develop her own film language with conspicuous success
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insufferably naive
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smart , sassy interpretation of the oscar wilde play
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imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
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a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland
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keep the proceedings as funny for grown-ups as for rugrats
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a dreadful day in irish history
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recommend big bad love
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jolly
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fails to satisfactorily exploit its gender politics , genre thrills or inherent humor .
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a straight-ahead thriller that never rises above superficiality .
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a fine effort ,
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of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure
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a sentimental mess that never
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the genius
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pleasant enough --
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appealing character quirks
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simplistic and more than a little pretentious
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seal the deal
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of a depressed fifteen-year-old 's suicidal poetry
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get a sense of good intentions derailed by a failure to seek and strike just the right tone .
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decent ones
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it 's better to go in knowing full well what 's going to happen , but willing to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists .
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sensitivity and skill
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judging by those standards , ` scratch ' is a pretty decent little documentary .
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what 's most refreshing about real women have curves
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the actors are simply too good , and the story too intriguing , for technical flaws to get in the way .
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than to change hackneyed concepts when it comes to dreaming up romantic comedies
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emotional force
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denied her own athleticism by lighting that emphasizes every line and sag
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lets her complicated characters be unruly , confusing and , through it all , human
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the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach
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return to never land is reliable , standard disney animated fare , with enough creative energy and wit to entertain all ages .
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free to go get popcorn whenever he 's not onscreen
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precocious smarter-than-thou wayward teen
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steers clear of the sensational and
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each other against all odds
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the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama
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the filmmakers want nothing else than to show us a good time , and in their cheap , b movie way , they succeed .
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unsettling to watch as an exploratory medical procedure or an autopsy
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does n't try to surprise us with plot twists , but rather seems to enjoy its own transparency
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strong education
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a tasty performance from vincent gallo lifts this tale of cannibal lust above the ordinary
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by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material
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saving
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offers no easy , comfortable resolution
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i was entranced .
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the powerful success of read my lips with such provocative material shows why , after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers .
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sweet home alabama '' is what it is -- a nice , harmless date film ...
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masterfully calibrated
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hits all the verbal marks it should
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provocative film
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strong piece
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authentically impulsive humor
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paranoid
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the best ensemble casts
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is reasonably entertaining ,
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makes sex with strangers , which opens today in the new york metropolitan area , so distasteful
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excellent performances from jacqueline bisset and martha plimpton grace this deeply touching melodrama .
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dead gorgeous
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insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing
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of those exceedingly rare films in which the talk alone is enough to keep us
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weighs down his capricious fairy-tale
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poor dana carvey
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make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits
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treads heavily
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gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection .
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dishonest and
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in the new release of cinema paradiso , the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .
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is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films
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enjoyable
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has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .
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come away from his film overwhelmed , hopeful and , perhaps paradoxically , illuminated .
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though overall an overwhelmingly positive portrayal , the film does n't ignore the more problematic aspects of brown 's life .
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chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .
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beautifully reclaiming the story of carmen and
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shatner is probably the funniest person in the film , which gives you an idea just how bad it was .
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's now , more than ever , choosing his roles with the precision of the insurance actuary
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offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes
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sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler .
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gives his best screen
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twohy knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record .
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interesting slice
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