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the man from elysian fields is a cold , bliss-less work that groans along thinking itself some important comment on how life throws us some beguiling curves .

liotta put on 30 pounds for the role , and has completely transformed himself from his smooth , goodfellas image .

a loud , ugly , irritating movie without any of its satirical salvos hitting a discernible target .

the story itself is actually quite vapid .

just watch bettany strut his stuff . you'll know a star when you see one .

overall tomfoolery like this is a matter of taste .

it's solid and affecting and exactly as thought-provoking as it should be .

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

mazel tov to a film about a family's joyous life acting on the yiddish stage .

" the quiet american " begins in saigon in 1952 . that's its first sign of trouble .

all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .

an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u . s . relocation camps to keep their hopes alive in 1975 .

despite impeccable acting . . . and a script that takes some rather unexpected ( even , at times , preposterous ) turns , love is just too , too precious in the end .

may seriously impair your ability to ever again maintain a straight face while speaking to a highway patrolman .

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

the movie barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .

the auteur's ear for the way fears and slights are telegraphed in the most blithe exchanges gives the film its lingering tug .

it seems like i have been waiting my whole life for this movie and now i can't wait for the sequel .

you can sip your vintage wines and watch your merchant ivory productions ; i'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week .

may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .

anthony hopkins ? big deal ! we've already seen the prequel to the silence of the lambs and hannibal -- and it was better the first time .

it's sweet , harmless , dumb , occasionally funny and about as compelling as a fishing show .

[t]oo many of these gross out scenes . . .

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 .

completely awful iranian drama . . . as much fun as a grouchy ayatollah in a cold mosque .

a moving and stark reminder that the casualties of war reach much further than we imagine .

exactly what its title implies : lusty , boisterous and utterly charming .

once again , the intelligence of gay audiences has been grossly underestimated , and a meaty plot and well-developed characters have been sacrificed for skin and flash that barely fizzle .

. . . if you're in a mind set for goofy comedy , the troopers will entertain with their gross outs , bawdy comedy and head games .

basically , it's pretty but dumb .

sad nonsense , this . but not without cheesy fun factor .

. . . hits every cliche we've come to expect , including the assumption that " crazy " people are innocent , childlike and inherently funny .

despite some gulps the film is a fuzzy huggy .

a muckraking job , the cinematic equivalent of a legal indictment , and a fairly effective one at that .

there seems to be no clear path as to where the story's going , or how long it's going to take to get there .

the strength of the film comes not from any cinematic razzle-dazzle but from its recovery of an historical episode that , in the simple telling , proves simultaneously harrowing and uplifting .

skillful as he is , mr . shyamalan is undone by his pretensions .

from the opening strains of the average white band's " pick up the pieces " , you can feel the love .

really is a pan-american movie , with moments of genuine insight into the urban heart .

it is a testament of quiet endurance , of common concern , of reconciled survival .

often likable , but just as often it's meandering , low on energy , and too eager to be quirky at moments when a little old-fashioned storytelling would come in handy .

hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .

too smart to ignore but a little too smugly superior to like , this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot .

trouble every day is a success in some sense , but it's hard to like a film so cold and dead .

the audacity to view one of shakespeare's better known tragedies as a dark comedy is , by itself , deserving of discussion .

the movie feels like it's going to be great , and it carries on feeling that way for a long time , but takeoff just never happens .

if i have to choose between gorgeous animation and a lame story ( like , say , treasure planet ) or so-so animation and an exciting , clever story with a batch of appealing characters , i'll take the latter every time .

'dragonfly' is a movie about a bus wreck that turns into a film wreck .

by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre .

writer/director mark romanek spotlights the underlying caste system in america . it's a scathing portrayal .

doesn't offer much besides glib soullessness , raunchy language and a series of brutal set pieces . . . that raise the bar on stylized screen violence .

surprisingly insightful

a time machine , a journey back to your childhood , when cares melted away in the dark theater , and films had the ability to mesmerize , astonish and entertain .

by surrounding us with hyper-artificiality , haynes makes us see familiar issues , like racism and homophobia , in a fresh way .

wonderful fencing scenes and an exciting plot make this an eminently engrossing film .

the film's greatest asset is how much it's not just another connect-the-dots , spy-on-the-run picture .

the story itself is uninteresting , and the songs are painfully undistinguished : they might be giants' so to be one of us may be the most tuneless tune ever composed .

the entire point of a shaggy dog story , of course , is that it goes nowhere , and this is classic nowheresville in every sense .

the story's pathetic and the gags are puerile .

a good-looking but ultimately pointless political thriller with plenty of action and almost no substance .

it's nice to see piscopo again after all these years , and chaykin and headly are priceless .

a sobering and powerful documentary about the most severe kind of personal loss : rejection by one's mother .

despite slick production values and director roger michell's tick-tock pacing , the final effect is like having two guys yelling in your face for two hours .

its audacious ambitions sabotaged by pomposity , steven soderbergh's space opera emerges as a numbingly dull experience .

a fascinating , unnerving examination of the delusions of one unstable man .

while undisputed isn't exactly a high , it is a gripping , tidy little movie that takes mr . hill higher than he's been in a while .

the creative animation work may not look as fully 'rendered' as pixar's industry standard , but it uses lighting effects and innovative backgrounds to an equally impressive degree .

the principals in this cast are all fine , but bishop and stevenson are standouts .

maelstrom is a deliberately unsteady mixture of stylistic elements .

leaves viewers out in the cold and undermines some phenomenal performances .

the casting of raymond j . barry as the 'assassin' greatly enhances the quality of neil burger's impressive fake documentary .

i firmly believe that a good video game movie is going to show up soon . i also believe that resident evil is not it .

it's mildly sentimental , unabashedly consumerist . . . studiously inoffensive and completely disposable .

although shot with little style , skins is heartfelt and achingly real .

to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed .

. . . wise and elegiac . . .

k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia .

not an objectionable or dull film ; it merely lacks everything except good intentions .

13 conversations may be a bit too enigmatic and overly ambitious to be fully successful , but sprecher and her screenwriting partner and sister , karen sprecher , don't seem ever to run out of ideas .

stirs potentially enticing ingredients into an uneasy blend of ghost and close encounters of the third kind .

reign of fire looks as if it was made without much thought -- and is best watched that way .

the film is a masterpiece of nuance and characterization , marred only by an inexplicable , utterly distracting blunder at the very end .

'almodóvar logra un filme entrañable , lleno de compasión , comprensión , amor , amistad , esperanza y humanidad que es sencillamente inolvidable . '

the so-inept- it's-surreal dubbing ( featuring the voices of glenn close , regis philbin and breckin meyer ) brings back memories of cheesy old godzilla flicks .

although very much like the first movie based on j . k . rowling's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude .

a moving essay about the specter of death , especially suicide .

everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse .

the huskies are beautiful , the border collie is funny and the overall feeling is genial and decent .

a wry , affectionate delight .

the biggest problem i have ( other than the very sluggish pace ) is we never really see her esther blossom as an actress , even though her talent is supposed to be growing .

what's next ? rob schneider , dana carvey and sarah michelle gellar in the philadelphia story ? david spade as citizen kane ?

while it is interesting to witness the conflict from the palestinian side , longley's film lacks balance . . . and fails to put the struggle into meaningful historical context .

i was impressed by how many tit-for-tat retaliatory responses the filmmakers allow before pulling the plug on the conspirators and averting an american-russian armageddon .

nicholson's understated performance is wonderful . as warren he stumbles in search of all the emotions and life experiences he's neglected over the years .

there's a vastness implied in metropolis that is just breathtaking .

the element of surprise might be the only thing femme fatale has going for it .

even with its $50-million us budget , pinocchio never quite achieves the feel of a fanciful motion picture .

it understands , in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking .

an earnest racial-issues picture that might have gotten respectful critical praise in a different era -- say , the '60s .

' . . . the cast portrays their cartoon counterparts well . . . but quite frankly , scoob and shag don't eat enough during the film . '