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no real surprises -- but still quite tasty and inviting all the same

academy award

sensuality , and

there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but

energetic , violent movie

unassuming , subordinate

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

sour taste

compelling pre-wwii drama

's hard to 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 .

, with increasingly amused irony , the relationship between reluctant captors and befuddled captives .

tiny little jokes and nary an original idea

elegant and sly

assayas ' ambitious , sometimes beautiful adaptation

there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .

go see this delightful comedy

whatever terror the heroes of horror movies try to avoid

as enlightening , insightful and entertaining as grant 's two best films

the only excitement comes when the credits finally roll and you get to leave the theater .

'' succeeds due to its rapid-fire delivery and enough inspired levity that it ca n't be dismissed as mindless .

captivates as it shows excess in business and pleasure , allowing us to find the small , human moments , and leaving off with a grand whimper .

, you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .

to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny

for most of its footage , the new thriller proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .

rich visual clarity and deeply

a period story about a catholic boy who tries to help a jewish friend get into heaven by sending the audience straight to hell .

fill the hot chick , the latest gimmick from this unimaginative comedian

the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining .

a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely

capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries

refreshes the mind and spirit

fussing over

because the film deliberately lacks irony , it has a genuine dramatic impact ;

is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender

takes a simple premise and carries it to unexpected heights .

furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation

does somehow manage to get you under its spell .

stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable .

an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema

from a riot-control projectile or my own tortured psyche

why not invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once ?

its recycled aspects , implausibility

welcomes

's finally been given a part worthy of her considerable talents

meeting , even exceeding expectations

this oddly sweet comedy

most savagely hilarious

should dispel it

be mildly amusing

delights for adults as there are for children and dog lovers

it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .

and , thanks to the presence of ` the king , ' it also rocks .

festival

its story may be a thousand years old , but why did it have to seem like it took another thousand to tell it to us ?

quaid is utterly fearless as the tortured husband living a painful lie , and moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver .

the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated , and

that ca n't totally hide its contrivances

is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it

as pure over-the-top trash , any john waters movie has it beat by a country mile .

to the edge of their seats

leaves us wondering less about its ideas and more about its characterization of hitler and the contrived nature of its provocative conclusion

dreary expanse

as part of mr. dong 's continuing exploration of homosexuality in america , family fundamentals is an earnest study in despair .

gracefully

's a testament to de niro and director michael caton-jones that by movie 's end , we accept the characters and the film , flaws and all .

have a good time as it doles out pieces of the famous director 's life

lonely and needy

's surprisingly bland despite the heavy doses of weird performances and direction

... a solid , unassuming drama .

this time , the hype is quieter , and while the movie is slightly less successful than the first , it 's still a rollicking good time for the most part .

's fun

featuring a dangerously seductive performance from the great daniel auteuil , `` sade '' covers the same period as kaufmann 's `` quills '' with more unsettlingly realistic results .

vapid actor 's exercise

have been an eerie thriller

nicely

but the power of these ( subjects ) is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .

offers a ray of hope to the refugees able to look ahead and resist living in a past

some talented performers

... a series of tales told with the intricate preciseness of the best short story writing .

intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix

comes along only occasionally , one so unconventional

crush could be the worst film a man has made about women since valley of the dolls .

it has some special qualities and the soulful gravity of crudup 's anchoring performance .

listless sci-fi comedy

of thoughtful war films and those

it 's the image that really tells the tale .

recalls the classics of early italian neorealism

add up to a satisfying crime drama .

idol 's

seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .

is the point of emotional and moral departure for protagonist alice

making the proceedings more bizarre than actually amusing

a terrifically entertaining specimen

anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .

full of life and small delights

we never feel anything for these characters , and as a result the film is basically just a curiosity

howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a ` literary ' filmmaking style to match his subject

indecent

has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .

returns de palma to his pulpy thrillers of the early '80s