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horns and halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth .

wait for pay per view or rental but don't dismiss barbershop out of hand .

easier to respect than enthuse over , andersson's rigorous personal vision is not only distanced but distancing .

clockstoppers is one of those crazy , mixed-up films that doesn't know what it wants to be when it grows up .

the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain .

watching junk like this induces a kind of abstract guilt , as if you were paying dues for good books unread , fine music never heard .

filmmakers who can deftly change moods are treasures and even marvels . so , too , is this comedy about mild culture clashing in today's new delhi .

funny but perilously slight .

the film doesn't show enough of the creative process or even of what was created for the non-fan to figure out what makes wilco a big deal .

it would be interesting to hear from the other side , but in talk to her , the women are down for the count .

a polished and vastly entertaining caper film that puts the sting back into the con .

consistently clever and suspenseful .

shows holmes has the screen presence to become a major-league leading lady , ( but ) the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that's scarcely a surprise by the time it arrives .

judith and zaza's extended bedroom sequence . . . is so intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics .

there's enough melodrama in this magnolia primavera to make pta proud yet director muccino's characters are less worthy of puccini than they are of daytime television .

with zoe clarke-williams's lackluster thriller " new best friend " , who needs enemies ? just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills .

since the movie is based on a nicholas sparks best seller , you know death is lurking around the corner , just waiting to spoil things .

[barry] gives assassin a disquieting authority .

the script , the gags , the characters are all direct-to-video stuff , and that's where this film should have remained .

with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare .

it's almost impossible not to be moved by the movie's depiction of sacrifice and its stirring epilogue in post-soviet russia .

with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .

miller comes at film with bracing intelligence and a vision both painterly and literary .

if the film has a problem , its shortness disappoints : you want the story to go on and on .

humorous , artsy , and even cute , in an off-kilter , dark , vaguely disturbing way .

this is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience .

as spent screen series go , star trek : nemesis is even more suggestive of a 65th class reunion mixer where only eight surviving members show up -- and there's nothing to drink .

. . . a joke at once flaky and resonant , lightweight and bizarrely original .

co-writer/director jonathan parker's attempts to fashion a brazil-like , hyper-real satire fall dreadfully short .

stiff and schmaltzy and clumsily directed .

this riveting world war ii moral suspense story deals with the shadow side of american culture : racial prejudice in its ugly and diverse forms .

a working class " us vs . them " opera that leaves no heartstring untugged and no liberal cause unplundered .

although commentary on nachtwey is provided . . . it's the image that really tells the tale .

it's push-the-limits teen comedy , the type written by people who can't come up with legitimate funny , and it's used so extensively that good bits are hopelessly overshadowed .

a long-winded , predictable scenario .

a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard's pyromania .

i've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .

a lot of the credit for the film's winning tone must go to grant , who hasn't lost a bit of the dry humor that first made audiences on both sides of the atlantic love him .

the angst-ridden , affluent slacker characters are more grating than engaging .

a conventional but heartwarming tale .

…the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material .

adults , other than the parents . . . will be hard pressed to succumb to the call of the wild .

the pairing does sound promising in theory . . . but their lack of chemistry makes eddie murphy and robert deniro in showtime look like old , familiar vaudeville partners .

chokes on its own depiction of upper-crust decorum .

observant intelligence constantly vies with pretension -- and sometimes plain wacky implausibility -- throughout maelstrom .

the movie should be credited with remembering his victims .

[denis'] bare-bones narrative more closely resembles an outline for a '70s exploitation picture than the finished product .

a perplexing example of promise unfulfilled , despite many charming moments .

. . . plenty of warmth to go around , with music and laughter and the love of family .

true to its title , it traps audiences in a series of relentlessly nasty situations that we would pay a considerable ransom not to be looking at .

a smart , compelling drama .

sweet and memorable film .

the comedy is nonexistent .

fails in making this character understandable , in getting under her skin , in exploring motivation . . . well before the end , the film grows as dull as its characters , about whose fate it is hard to care .

recalls quiet freak-outs like l'avventura and repulsion .

[serry] wants to blend politics and drama , an admirable ambition . it's too bad that the helping hand he uses to stir his ingredients is also a heavy one .

jacobi , the most fluent of actors , is given relatively dry material from nijinsky's writings to perform , and the visuals , even erotically frank ones , become dullingly repetitive .

a dreadful day in irish history is given passionate , if somewhat flawed , treatment .

me without you has a bracing truth that's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .

seems based on ugly ideas instead of ugly behavior , as happiness was . . . hence , storytelling is far more appealing .

. . . a funny yet dark and seedy clash of cultures and generations .

the film's maudlin focus on the young woman's infirmity and her naive dreams play like the worst kind of hollywood heart-string plucking .

one of those based-on-truth stories that persuades you , with every scene , that it could never really have happened this way .

films are made of little moments . changing lanes tries for more . it doesn't reach them , but the effort is gratefully received .

maybe leblanc thought , " hey , the movie about the baseball-playing monkey was worse . "

the film's trailer also looked like crap , so crap is what i was expecting .

if you're not into the pokemon franchise , this fourth animated movie in four years won't convert you -- or even keep your eyes open . but fans should have fun meeting a brand-new pokemon called celebi .

it's rather like a lifetime special -- pleasant , sweet and forgettable .

lazily directed by charles stone iii . . . from a leaden script by matthew cirulnick and novelist thulani davis .

i found the movie as divided against itself as the dysfunctional family it portrays .

it's too harsh to work as a piece of storytelling , but as an intellectual exercise -- an unpleasant debate that's been given the drive of a narrative and that's been acted out -- the believer is nothing less than a provocative piece of work .

a gracious , eloquent film that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past forever lost .

a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time .

a solid film . . . but more conscientious than it is truly stirring .

cuts right through the b . s . giving a big middle-fingered " shut up " to those who talk up what is nothing more than two guys beating the hell outta one another .

the jokes are flat , and the action looks fake .

it ain't art , by a long shot , but unlike last year's lame musketeer , this dumas adaptation entertains .

what goes on for the 110 minutes of " panic room " is a battle of witlessness between a not-so-bright mother and daughter and an even less capable trio of criminals .

finally coming down off of miramax's deep shelves after a couple of aborted attempts , waking up in reno makes a strong case for letting sleeping dogs lie .

about a boy vividly recalls the cary grant of room for one more , houseboat and father goose in its affectionate depiction of the gentle war between a reluctant , irresponsible man and the kid who latches onto him .

the pool drowned me in boredom .

if you recognize zeus ( the dog from snatch ) it will make you wish you were at home watching that movie instead of in the theater watching this one .

if you liked such movies as notting hill , four weddings and a funeral , bridget jones' diary or high fidelity , then you won't want to miss about a boy .

though the controversial korean filmmaker's latest effort is not for all tastes , it offers gorgeous imagery , effective performances , and an increasingly unsettling sense of foreboding .

so riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plod along .

a fresh , entertaining comedy that looks at relationships minus traditional gender roles .

lovely and poignant . puts a human face on a land most westerners are unfamiliar with .

norton is magnetic as graham .

fathers and sons , and the uneasy bonds between them , rarely have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .

this starts off with a 1950's doris day feel and it gets very ugly , very fast . the first five minutes will have you talking 'til the end of the year !

if you're not a prepubescent girl , you'll be laughing at britney spears' movie-starring debut whenever it doesn't have you impatiently squinting at your watch .

the four feathers has rewards , from the exoticism of its seas of sand to the fierce grandeur of its sweeping battle scenes .

the drama discloses almost nothing .

barely manages for but a few seconds over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference .

with exquisite craftsmanship . . . olivier assayas has fashioned an absorbing look at provincial bourgeois french society .

a miniscule little bleep on the film radar , but one that many more people should check out

there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance . . .

it seems just a long , convoluted ploy to get men into drag -- period drag , no less .

thanks to scott's charismatic roger and eisenberg's sweet nephew , roger dodger is one of the most compelling variations on in the company of men .