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it's endlessly inventive , consistently intelligent and sickeningly savage .

stale , futile scenario .

a compelling , moving film that respects its audience and its source material .

the movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries .

a cockeyed shot all the way .

there's a thin line between likably old-fashioned and fuddy-duddy , and the count of monte cristo . . . never quite settles on either side .

adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary .

either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks .

the film is bright and flashy in all the right ways .

devos and cassel have tremendous chemistry -- their sexual and romantic tension , while never really vocalized , is palpable .

murphy and wilson actually make a pretty good team . . . but the project surrounding them is distressingly rote .

in spite of good housekeeping's unsavory characters and wwf mentality , this white trash war of the roses is a surprisingly engaging film .

two hours fly by -- opera's a pleasure when you don't have to endure intermissions -- and even a novice to the form comes away exhilarated .

i'll put it this way : if you're in the mood for a melodrama narrated by talking fish , this is the movie for you .

its message has merit and , in the hands of a brutally honest individual like prophet jack , might have made a point or two regarding life .

if signs is a good film , and it is , the essence of a great one is in there somewhere .

a thriller without thrills and a mystery devoid of urgent questions .

the best movie of its kind since 'brazil . ' lucas , take notes . this is how you use special effects .

as adapted by kevin molony from simon leys' novel " the death of napoleon " and directed by alan taylor , napoleon's journey is interesting but his parisian rebirth is stillborn

barely goes beyond comic book status .

despite juliet stevenon's attempt to bring cohesion to pamela's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .

an unbelievably fun film just a leading man away from perfection .

like its new england characters , most of whom wander about in thick clouds of denial , the movie eventually gets around to its real emotional business , striking deep chords of sadness .

while most films these days are about nothing , this film seems to be about everything that's plaguing the human spirit in a relentlessly globalizing world .

an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves .

a superfluous sequel . . . plagued by that old familiar feeling of 'let's get this thing over with' : everyone has shown up at the appointed time and place , but visible enthusiasm is mighty hard to find .

it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid .

sex with strangers is fascinating . . .

a masterpiece four years in the making .

a bonanza of wacky sight gags , outlandish color schemes , and corny visual puns that can be appreciated equally as an abstract frank tashlin comedy and as a playful recapitulation of the artist's career .

it will probably prove interesting to ram dass fans , but to others it may feel like a parody of the mellow , peace-and-love side of the '60s counterculture .

with a story inspired by the tumultuous surroundings of los angeles , where feelings of marginalization loom for every dreamer with a burst bubble , the dogwalker has a few characters and ideas , but it never manages to put them on the same path .

ok arthouse . the power of this script , and the performances that come with it , is that the whole damned thing didn't get our moral hackles up .

at a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had , godfrey reggio's career shines like a lonely beacon .

this romantic/comedy asks the question how much souvlaki can you take before indigestion sets in .

beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart . it really is a shame that more won't get an opportunity to embrace small , sweet 'evelyn . '

one of the best films of the year with its exploration of the obstacles to happiness faced by five contemporary individuals . . . a psychological masterpiece .

with minimal imagination , you could restage the whole thing in your bathtub .

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

guaranteed to move anyone who ever shook , rattled , or rolled .

i enjoyed the movie in a superficial way , while never sure what its purpose was .

appropriately cynical social commentary aside , #9 never quite ignites .

no amount of burning , blasting , stabbing , and shooting can hide a weak script .

bouquet gives a performance that is masterly .

there are moments of hilarity to be had .

an enjoyable comedy of lingual and cultural differences… the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten .

because the genre is well established , what makes the movie fresh is smart writing , skewed characters , and the title performance by kieran culkin .

at times funny and at other times candidly revealing , it's an intriguing look at two performers who put themselves out there because they love what they do .

. . . brian de palma is utterly mad : cinema mad , set-piece mad , style mad . it's a beautiful madness .

on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .

about amy's cuteness , amy's career success ( she's a best-selling writer of self-help books who can't help herself ) , and amy's neuroses when it comes to men .

if you've grown tired of going where no man has gone before , but several movies have - take heart . this is the best star trek movie in a long time .

while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy .

one of the most incoherent features in recent memory .

starts out ballsy and stylish but fails to keep it up and settles into clichés .

roger michell , who did an appealing job directing persuasion and notting hill in england , gets too artsy in his american debut .

calling this movie brainless would be paying it a compliment : it's more like entertainment for trolls .

too much of the movie feels contrived , as if the filmmakers were worried the story wouldn't work without all those gimmicks .

. . . silly humbuggery . . .

frailty isn't as gory or explicit . but in its child-centered , claustrophobic context , it can be just as frightening and disturbing -- even punishing .

amidst the action , the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the " other side of the story . "

thirty years ago , it would have been groundbreaking . now it's just tired .

the beauty of alexander payne's ode to the everyman is in the details .

guillen rarely gets beneath the surface of things . she lists ingredients , but never mixes and stirs .

a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .

whether writer-director anne fontaine's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting .

opening with some contrived banter , cliches and some loose ends , the screenplay only comes into its own in the second half .

a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies .

it has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story just complicated enough to let you bask in your own cleverness as you figure it out .

a model of what films like this should be like .

an uneven film dealing with too many problems to be taken seriously .

filmmakers dana janklowicz-mann and amir mann area headed east , far east , in retelling a historically significant , and personal , episode detailing how one international city welcomed tens of thousands of german jewish refugees while the world's democracie

a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely feature-length running time of one hour .

jonah is only so-so . . . the addition of a biblical message will either improve the film for you , or it will lessen it .

national lampoon's van wilder may aim to be the next animal house , but it more closely resembles this year's version of tomcats .

i weep for the future when a good portion of the respected critical community in this country consider blue crush to be an intelligent film about young women .

the character of zigzag is not sufficiently developed to support a film constructed around him .

. . . a polished and relatively sincere piece of escapism .

the sinister inspiration that fuelled devito's early work is confused in death to smoochy into something both ugly and mindless .

the thriller side of this movie is falling flat , as the stalker doesn't do much stalking , and no cop or lawyer grasps the concept of actually investigating the case .

we started to wonder if … some unpaid intern had just typed 'chris rock , ' 'anthony hopkins' and 'terrorists' into some univac-like script machine .

even as i valiantly struggled to remain interested , or at least conscious , i could feel my eyelids . . . getting . . . very . . . heavy . . .

what a great shame that such a talented director as chen kaige has chosen to make his english-language debut with a film so poorly plotted and scripted .

it's refreshing that someone understands the need for the bad boy ; diesel , with his brawny frame and cool , composed delivery , fits the bill perfectly .

even if invincible is not quite the career peak that the pianist is for roman polanski , it demonstrates that werner herzog can still leave us with a sense of wonder at the diverse , marvelously twisted shapes history has taken .

episode ii-- attack of the clones is a technological exercise that lacks juice and delight .

for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped . for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped .

earns its laughs from stock redneck 'types' and from the many , many moments when we recognize even without the elizabethan prose , the play behind the thing .

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 .

it asks nothing of the audience other than to sit back and enjoy a couple of great actors hamming it up .

muddled , trashy and incompetent

the movie is saved from unbearable lightness by the simplicity of the storytelling and the authenticity of the performances .

ultimately , the film amounts to being lectured to by tech-geeks , if you're up for that sort of thing .

a powerful , inflammatory film about religion that dares to question an ancient faith , and about hatred that offers no easy , comfortable resolution .

those with a modicum of patience will find in these characters' foibles a timeless and unique perspective .

it's really yet another anemic and formulaic lethal weapon-derived buddy-cop movie , trying to pass off its lack of imagination as hip knowingness .

this comic gem is as delightful as it is derivative .

overall , cletis tout is a winning comedy that excites the imagination and tickles the funny bone .

it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes .

nicole kidman makes it a party worth attending .