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a droll , well-acted , character-driven comedy with unexpected deposits of feeling .

this is a winning ensemble comedy that shows canadians can put gentle laughs and equally gentle sentiments on the button , just as easily as their counterparts anywhere else in the world .

a gob of drivel so sickly sweet , even the eager consumers of moore's pasteurized ditties will retch it up like rancid crème brûlée .

inconsequential road-and-buddy pic .

an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .

as a director , paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .

alarms for duvall's throbbing sincerity and his elderly propensity for patting people while he talks .

this is a movie where the most notable observation is how long you've been sitting still .

even the finest chef can't make a hotdog into anything more than a hotdog , and robert de niro can't make this movie anything more than a trashy cop buddy comedy .

funny and touching .

one of the year's best films , featuring an oscar-worthy performance by julianne moore .

a cellophane-pop remake of the punk classic ladies and gentlemen , the fabulous stains . . . crossroads is never much worse than bland or better than inconsequential .

if a horror movie's primary goal is to frighten and disturb , then they works spectacularly well . . . a shiver-inducing , nerve-rattling ride .

one of those unassuming films that sneaks up on you and stays with you long after you have left the theatre .

this mistaken-identity picture is so film-culture referential that the final product is a ghost .

merely ( and literally ) tosses around sex toys and offers half-hearted paeans to empowerment that are repeatedly undercut by the brutality of the jokes , most at women's expense .

it made me feel unclean , and i'm the guy who liked there's something about mary and both american pie movies . oh , and booty call .

it's another retelling of alexandre dumas' classic . why ? who knows , but it works under the direction of kevin reynolds .

at the end of the movie , my 6-year-old nephew said , " i guess i come from a broken family , and my uncles are all aliens , too . " congrats disney on a job well done , i enjoyed it just as much !

it's a wonderful , sobering , heart-felt drama .

real-life strongman ahola lacks the charisma and ability to carry the film on his admittedly broad shoulders .

being unique doesn't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .

nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives .

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

though lan yu lacks a sense of dramatic urgency , the film makes up for it with a pleasing verisimilitude .

it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .

a big , loud , bang-the-drum bore .

cho continues her exploration of the outer limits of raunch with considerable brio .

a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .

if you enjoy being rewarded by a script that assumes you aren't very bright , then blood work is for you .

a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries .

ja rule and kurupt should have gotten to rap . it would have benefitted the dialogue .

call me a wimp , but i cried , not once , but three times in this animated sweet film .

what's most offensive isn't the waste of a good cast , but the film's denial of sincere grief and mourning in favor of bogus spiritualism .

what more can be expected from a college comedy that's target audience hasn't graduated from junior high school ?

enchanted with low-life tragedy and liberally seasoned with emotional outbursts . . . what is sorely missing , however , is the edge of wild , lunatic invention that we associate with cage's best acting .

a manically generous christmas vaudeville .

while mcfarlane's animation lifts the film firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story .

there's something about a marching band that gets me where i live .

insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion . but the performances of pacino , williams , and swank keep the viewer wide-awake all the way through .

a soul-stirring documentary about the israeli/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .

far more imaginative and ambitious than the trivial , cash-in features nickelodeon has made from its other animated tv series .

would you laugh if a tuba-playing dwarf rolled down a hill in a trash can ? do you chuckle at the thought of an ancient librarian whacking a certain part of a man's body ? if you answered yes , by all means enjoy the new guy .

although the level of the comedy declines as the movie proceeds , there's no denying the fun of watching de niro and crystal having fun .

it's sweet . it's funny . it wears its heart on the sleeve of its gaudy hawaiian shirt . and , thanks to the presence of 'the king , ' it also rocks .

as they used to say in the 1950s sci-fi movies , signs is a tribute to shyamalan's gifts , which are such that we'll keep watching the skies for his next project .

matthew mcconaughey tries , and fails , to control the screen with swaggering machismo and over-the-top lunacy .

best of all is garcia , who perfectly portrays the desperation of a very insecure man .

it's at once laughable and compulsively watchable , in its committed dumbness .

if your senses haven't been dulled by slasher films and gorefests , if you're a connoisseur of psychological horror , this is your ticket .

directors john musker and ron clements , the team behind the little mermaid , have produced sparkling retina candy , but they aren't able to muster a lot of emotional resonance in the cold vacuum of space .

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 .

intensely romantic , thought-provoking and even an engaging mystery .

rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories .

every so often a movie comes along that confirms one's worse fears about civilization as we know it . the new guy is one of them .

it's not only dull because we've seen [eddie] murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed .

you won't believe much of it , but you will laugh at the audacity , at the who's who casting and the sheer insanity of it all .

the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone .

feels like the work of someone who may indeed have finally aged past his prime . . . and , perhaps more than he realizes , just wants to be liked by the people who can still give him work .

this odd , distant portuguese import more or less borrows from bad lieutenant and les vampires , and comes up with a kind of art-house gay porn film .

while benigni ( who stars and co-wrote ) seems to be having a wonderful time , he might be alone in that .

schnieder bounces around with limp wrists , wearing tight tummy tops and hip huggers , twirling his hair on his finger and assuming that's enough to sustain laughs . . .

rice never clearly defines his characters or gives us a reason to care about them .

a gentle blend of present day testimonials , surviving footage of burstein and his family performing , historical archives , and telling stills .

as gory as the scenes of torture and self-mutilation may be , they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting .

secretary is not a movie about fetishism . it is a movie about passion .

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

though the film is static , its writer-director's heart is in the right place , his plea for democracy and civic action laudable .

another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt pictures .

[grant's] bumbling magic takes over the film , and it turns out to be another winning star vehicle .

the movie doesn't generate a lot of energy . it is dark , brooding and slow , and takes its central idea way too seriously .

a few hours after you've seen it , you forget you've been to the movies .

not since ghostbusters has a film used manhattan's architecture in such a gloriously goofy way .

visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .

i can easily imagine benigni's pinocchio becoming a christmas perennial . coal isn't as easy to come by as it used to be and this would be a worthy substitute for naughty children's stockings .

think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch .

weirdly , broomfield has compelling new material but he doesn't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .

the most ingenious film comedy since being john malkovich .

os problemas têm início a partir do momento em que saímos do cinema e começamos a pensar sobre o que acabamos de ver . É então que sinais realmente desaponta .

philip k . dick must be turning in his grave , along with my stomach .

the kind of nervous film that will either give you a mild headache or exhilarate you .

would that greengrass had gone a tad less for grit and a lot more for intelligibility .

doesn't add up to much .

feral and uncomfortable .

like kubrick , soderbergh isn't afraid to try any genre and to do it his own way .

a puzzle whose pieces do not fit . some are fascinating and others are not , and in the end , it is almost a good movie .

it does give a taste of the burning man ethos , an appealing blend of counter-cultural idealism and hedonistic creativity .

the structure is simple , but in its own way , rabbit-proof fence is a quest story as grand as the lord of the rings .

there's not one decent performance from the cast and not one clever line of dialogue .

the trappings of i spy are so familiar you might as well be watching a rerun .

ever see one of those comedies that just seem like a bad idea from frame one ?

an engaging , formulaic sports drama that carries a charge of genuine excitement .

demonstrates the unusual power of thoughtful , subjective filmmaking .

a full experience , a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence .

this is a very funny , heartwarming film . it has fun with the quirks of family life , but it also treats the subject with fondness and respect .

a funny film .

i wish windtalkers had had more faith in the dramatic potential of this true story . this would have been better than the fiction it has concocted , and there still could have been room for the war scenes .

it is ridiculous , of course . . . but it is also refreshing , disarming , and just outright enjoyable despite its ridiculousness .

alternately frustrating and rewarding .

the best film of the year 2002 .