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i'm guessing the director is a magician . after all , he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .

a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles .

squandering his opportunity to make absurdist observations , burns gets caught up in the rush of slapstick thoroughfare .

it's another stale , kill-by-numbers flick , complete with blade-thin characters and terrible , pun-laden dialogue .

johnson has , in his first film , set himself a task he is not nearly up to .

the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game .

i admired it , particularly that unexpected downer of an ending .

a stylish thriller .

as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [sex and lucía] makes for an arousing good time .

mushes the college-friends genre ( the big chill ) together with the contrivances and overwrought emotion of soap operas .

it's difficult for a longtime admirer of his work to not be swept up in invincible and overlook its drawbacks .

schneidermeister . . . makin' a fool of himself . . . losin' his fan base . . .

what begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters .

an entertaining , if ultimately minor , thriller .

offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .

this is really just another genre picture .

it's hard to say who might enjoy this , are there tolstoy groupies out there ? it's dark and tragic , and lets the business of the greedy talent agents get in the way of saying something meaningful about facing death

none of this violates the letter of behan's book , but missing is its spirit , its ribald , full-throated humor .

dense , exhilarating documentary .

from a deceptively simple premise , this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .

one of those strained caper movies that's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .

some movies can get by without being funny simply by structuring the scenes as if they were jokes : a setup , delivery and payoff . stealing harvard can't even do that much . each scene immediately succumbs to gravity and plummets to earth .

'abandon all hope , ye who enter here' . . . you should definitely let dante's gloomy words be your guide .

a vivid , spicy footnote to history , and a movie that grips and holds you in rapt attention from start to finish .

this isn't a retooled genre piece , the tale of a guy and his gun , but an amiably idiosyncratic work .

[janey] forgets about her other obligations , leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies .

while the story's undeniably hard to follow , iwai's gorgeous visuals seduce .

a smug and convoluted action-comedy that doesn't allow an earnest moment to pass without reminding audiences that it's only a movie .

affectionately reminds us that , in any language , the huge stuff in life can usually be traced back to the little things .

here is a vh1 behind the music special that has something a little more special behind it : music that didn't sell many records but helped change a nation .

has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal's overweight and out of shape .

you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's good and horrid .

what makes it worth watching is quaid's performance .

a captivating and intimate study about dying and loving . . .

while general audiences might not come away with a greater knowledge of the facts of cuban music , they'll be treated to an impressive and highly entertaining celebration of its sounds .

a photographic marvel of sorts , and it's certainly an invaluable record of that special fishy community .

there are more shots of children smiling for the camera than typical documentary footage which hurts the overall impact of the film . it's makes a better travelogue than movie .

it's virtually impossible to like any of these despicable characters .

it's lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay .

what could have become just another cautionary fable is allowed to play out as a clever , charming tale – as pleasantly in its own way as its self-dramatizing characters .

in the end , all you can do is admire the ensemble players and wonder what the point of it is .

it's mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of [woo's] best work .

the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .

this movie plays like an extended dialogue exercise in retard 101 .

. . . flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue and a wide supply of effective sight gags .

pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick .

a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish .

despite all the talking , by the time the bloody climax arrives we still don't feel enough of an attachment to these guys to care one way or another .

as a director , eastwood is off his game -- there's no real sense of suspense , and none of the plot 'surprises' are really surprising .

it's clear the filmmakers weren't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .

the movie is virtually without context -- journalistic or historical . what's worse is that pelosi knows it .

none of these characters resembles anyone you've ever met in real life , unless you happen to know annoyingly self-involved people who speak in glib sentences that could have only come from the pen of a screenwriter .

a minor-league soccer remake of the longest yard .

it's a much more emotional journey than what shyamalan has given us in his past two movies , and gibson , stepping in for bruce willis , is the perfect actor to take us on the trip .

though the aboriginal aspect lends the ending an extraordinary poignancy , and the story itself could be played out in any working class community in the nation .

more romantic , more emotional and ultimately more satisfying than the teary-eyed original .

insanely hilarious ! i haven't laughed that hard in years !

there are enough throwaway references to faith and rainbows to plant smile-button faces on that segment of the populace that made a walk to remember a niche hit .

the all-french cast is marveilleux .

the problem is that the movie has no idea of it is serious or not .

' . . . a great , participatory spectator sport . '

writer-director juan carlos fresnadillo makes a feature debut that is fully formed and remarkably assured .

there may have been a good film in " trouble every day , " but it is not what is on the screen .

as elegantly crafted as it often is , anderson's movie is essentially a one-trick pony that , hampered by an undeveloped script , ultimately pulls up lame .

beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics .

i don't even care that there's no plot in this antonio banderas-lucy liu faceoff . it's still terrible !

the holes in this film remain agape -- holes punched through by an inconsistent , meandering , and sometimes dry plot .

it's usually a bad sign when directors abandon their scripts and go where the moment takes them , but olympia , wash . , based filmmakers anne de marcken and marilyn freeman did just that and it's what makes their project so interesting .

it's not the least of afghan tragedies that this noble warlord would be consigned to the dustbin of history .

the bodily function jokes are about what you'd expect , but there are rich veins of funny stuff in this movie .

intriguing and beautiful film , but those of you who read the book are likely to be disappointed .

it's a charming and often affecting journey .

although bright , well-acted and thought-provoking , tuck everlasting suffers from a laconic pace and a lack of traditional action .

a comic gem with some serious sparkles .

uneven but a lot of fun .

eight legged freaks is clever and funny , is amused by its special effects , and leaves you feeling like you've seen a movie instead of an endless trailer .

given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube .

although god is great addresses interesting matters of identity and heritage , it's hard to shake the feeling that it was intended to be a different kind of film .

the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey .

sets up a nice concept for its fiftysomething leading ladies , but fails loudly in execution .

ferrara's strongest and most touching movie of recent years .

it's a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix's .

a by-the-numbers patient/doctor pic that covers all the usual ground

a full-frontal attack on audience patience .

stars matthew perry and elizabeth hurley illicit more than a chuckle , and more jokes land than crash , but ultimately serving sara doesn't distinguish itself from the herd .

impresses you with its open-endedness and surprises .

one of the funniest motion pictures of the year , but . . . also one of the most curiously depressing .

much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart . their work is fantastic .

a grating , emaciated flick .

it's getting harder and harder to ignore the fact that hollywood isn't laughing with us , folks . it's laughing at us .

an utterly compelling 'who wrote it' in which the reputation of the most famous author who ever lived comes into question .

the kind of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly executed idea .

under-rehearsed and lifeless

a real movie , about real people , that gives us a rare glimpse into a culture most of us don't know .

an extraordinarily silly thriller .

the performances are uniformly good .

" home movie " is a sweet treasure and something well worth your time .

mr . caine and mr . fraser are the whole show here , with their memorable and resourceful performances .

billy crystal and robert de niro sleepwalk through vulgarities in a sequel you can refuse .

karmen moves like rhythm itself , her lips chanting to the beat , her long , braided hair doing little to wipe away the jeweled beads of sweat .