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it never quite makes it to the boiling point , but manages to sustain a good simmer for most of its running time .

unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes take place indoors in formal settings with motionless characters .

just like the deli sandwich : lots of ham , lots of cheese , with a sickly sweet coating to disguise its excrescence until just after ( or during ) consumption of its second half .

williams absolutely nails sy's queasy infatuation and overall strangeness .

kapur's contradictory feelings about his material result in a movie that works against itself .

there's some outrageously creative action in the transporter . . . [b]ut by the time frank parachutes down onto a moving truck , it's just another cartoon with an unstoppable superman .

the director seems to take an unseemly pleasure in [the characters'] misery and at the same time to congratulate himself for having the guts to confront it .

each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteen conversations about one thing , for all its generosity and optimism , never resorts to easy feel-good sentiments .

tsai ming-liang has taken his trademark style and refined it to a crystalline point .

solondz creates some effective moments of discomfort for character and viewer alike .

a compassionate , moving portrait of an american ( and an america ) always reaching for something just outside his grasp .

a cartoon that's truly cinematic in scope , and a story that's compelling and heartfelt -- even if the heart belongs to a big , four-legged herbivore .

it all plays out . . . like a high-end john hughes comedy , a kind of elder bueller's time out .

the plot of the comeback curlers isn't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what's unique and quirky about canadians .

reinforces the often forgotten fact of the world's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes .

i was perplexed to watch it unfold with an astonishing lack of passion or uniqueness .

anyone who's ever suffered under a martinet music instructor has no doubt fantasized about what an unhappy , repressed and twisted personal life their tormentor deserved . these people are really going to love the piano teacher .

smith's approach is never to tease , except gently and in that way that makes us consider our own eccentricities and how they are expressed through our homes .

exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable .

the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan's madness .

who is this movie for ? not kids , who don'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 . '

the slapstick is labored , and the bigger setpieces flat .

how inept is serving sara ? it makes even elizabeth hurley seem graceless and ugly .

all ends well , sort of , but the frenzied comic moments never click .

what makes how i killed my father compelling , besides its terrific performances , is fontaine's willingness to wander into the dark areas of parent-child relationships without flinching .

director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini's famous love-jealousy- murder-suicide fandango with great cinematic innovation .

. . . post-september 11 , " the sum of all fears " seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .

the entire film is one big excuse to play one lewd scene after another . about half of them are funny , a few are sexy and none are useful in telling the story , which is paper-thin and decidedly unoriginal .

terminally bland , painfully slow and needlessly confusing . . . the movie , shot on digital videotape rather than film , is frequently indecipherable .

adroit but finally a trifle flat , mad love doesn't galvanize its outrage the way , say , jane campion might have done , but at least it possesses some .

some actors steal scenes . tom green just gives them a bad odor . this self-infatuated goofball is far from the only thing wrong with the clumsy comedy stealing harvard , but he's the most obvious one .

i walked away not really know who " they " were , what " they " looked like . why " they " were here and what " they " wanted and quite honestly , i didn't care .

this isn't exactly profound cinema , but it's good-natured and sometimes quite funny .

these spiders can outrun a motorcycle and wrap a person in a sticky cocoon in seconds , but they fall short of being interesting or entertaining .

in the name of an allegedly inspiring and easily marketable flick , the emperor's club turns a blind eye to the very history it pretends to teach .

snow dogs finds its humour in a black man getting humiliated by a pack of dogs who are smarter than him

. . . contains very few laughs and even less surprises .

it's hard not to be seduced by [witherspoon's] charisma , even in this run-of-the-mill vehicle , because this girl knows how to drive it to the max .

a deliciously nonsensical comedy about a city coming apart at its seams .

a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion .

just because a walk to remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls .

it's rare to find a film to which the adjective 'gentle' applies , but the word perfectly describes pauline & paulette .

it's so good that you can practically see the hollywood 'suits' trying to put together the cast and filmmaking team for the all-too -inevitable american remake .

a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences .

the christ allegory doesn't work because there is no foundation for it

. . . what a banal bore the preachy circuit turns out to be

despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that's as fresh-faced as its young-guns cast .

the fourth in a series that i'll bet most parents had thought --hoped ! -- was a fad that had long since vanished .

this time kaufman's imagination has failed him .

adam sandler ! in an art film !

collapses under its own meager weight .

unfortunately the story and the actors are served with a hack script .

if the full monty was a freshman fluke , lucky break is [cattaneo] sophomore slump .

the beauty of the piece is that it counts heart as important as humor .

the plot is nothing but boilerplate clichés from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it's also too stupid to realize that they've already seen this exact same movie a hundred times

if you ever wanted to be an astronaut , this is the ultimate movie experience - it's informative and breathtakingly spectacular .

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

what you expect is just what you get . . . assuming the bar of expectations hasn't been raised above sixth-grade height .

a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks .

an ugly , pointless , stupid movie .

deep intelligence and a warm , enveloping affection breathe out of every frame .

like an afterschool special with costumes by gianni versace , mad love looks better than it feels .

lanie's professional success means she must be a failure at life , because she's driven by ambition and doesn't know how to have fun .

if you're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you're at the right film .

this tuxedo . . . should have been sent back to the tailor for some major alterations .

it's not original , and , robbed of the element of surprise , it doesn't have any huge laughs in its story of irresponsible cops who love to play pranks .

there are some fairly unsettling scenes , but they never succeed in really rattling the viewer .

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 .

it's still a comic book , but maguire makes it a comic book with soul .

i'm happy to have seen it -- not as an alternate version , but as the ultimate exercise in viewing deleted scenes .

not a film to rival to live , but a fine little amuse-bouche to keep your appetite whetted .

this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak .

behan's memoir is great material for a film -- rowdy , brawny and lyrical in the best irish sense -- but sheridan has settled for a lugubrious romance .

as vulgar as it is banal .

a whimsical if predictable time-travel fable marred by a willful single-mindedness .

the best animated feature to hit theaters since beauty and the beast 11 years ago .

blue crush follows the formula , but throws in too many conflicts to keep the story compelling .

with few respites , marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .

merely as a technical , logistical feat , russian ark marks a cinematic milestone .

unless you are in dire need of a diesel fix , there is no real reason to see it . wait for video -- and then don't rent it .

feeble comedy .

at just over an hour , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .

using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater .

offers that rare combination of entertainment and education .

a smart , witty follow-up .

too leisurely paced and visually drab for its own good , it succeeds in being only sporadically amusing .

snipes is both a snore and utter tripe .

. . . turns so unforgivably trite in its last 10 minutes that anyone without a fortified sweet tooth will likely go into sugar shock .

fails to satisfactorily exploit its gender politics , genre thrills or inherent humor .

. . . a confusing drudgery .

seems like something american and european gay movies were doing 20 years ago .

what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks ( at least during their '70s heyday ) comes across as lame and sophomoric in this debut indie feature .

the path ice age follows most closely , though , is the one established by warner bros . giant chuck jones , who died a matter of weeks before the movie's release .

the thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes ( of which they'll get plenty ) fills me with revulsion .

[anderson] uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense .

has a shambling charm . . . a cheerfully inconsequential diversion .

what's most striking about this largely celebratory film . . . is the sense of isolation that permeates these bastions of individuality in an ikea world .

there is no denying the power of polanski's film . . .

the viewer takes great pleasure in watching the resourceful molly stay a step ahead of her pursuers .

a tremendous piece of work .