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partway through watching this saccharine , easter-egg-colored concoction , you realize that it is made up of three episodes of a rejected tv show .
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frankly , it 's kind of insulting , both to men and women . and it 's not that funny -- which is just generally insulting .
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here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .
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plodding , peevish and gimmicky .
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chris columbus ' sequel is faster , livelier and a good deal funnier than his original .
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though catch me if you can is n't badly made , the fun slowly leaks out of the movie .
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the movie does n't add anything fresh to the myth .
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j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she 's a pretty woman , but she 's no working girl .
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a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .
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a sexy , surprising romance . . . idemoto and kim make a gorgeous pair . . . their scenes brim with sexual possibility and emotional danger .
| 1 |
the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game .
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the movie is well done , but slow .
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say this for the soundtrack , it drowns out the lousy dialogue .
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a trite psychological thriller designed to keep the audience guessing and guessing -- which is not to be confused with suspecting -- until it comes time to wrap things up and send the viewers home .
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leave it to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama .
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this is not an easy film . but it could be , by its art and heart , a necessary one .
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borrows from other movies like it in the most ordinary and obvious fashion .
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the events of the film are just so weird that i honestly never knew what the hell was coming next .
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is this love or is it masochism ? binoche makes it interesting trying to find out .
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this film , starring anthony hopkins and chris rock , is your typical 'fish out of water ' story . you 've seen them a million times . just one problem : fish out of water usually die . this one does .
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with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in .
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this is n't a narrative film -- i do n't know if it 's possible to make a narrative film about september 11th , though i 'm sure some will try -- but it 's as close as anyone has dared to come .
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exactly what it claims to be -- a simple diversion for the kids .
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the casting of von sydow . . . is itself intacto 's luckiest stroke .
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never inspires more than an interested detachment .
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a sincere but dramatically conflicted gay coming-of-age tale .
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bright seems alternately amused and disgusted with this material , and he ca n't help throwing in a few of his own touches .
| 1 |
the obligatory break-ups and hook-ups do n't seem to have much emotional impact on the characters .
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a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .
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this may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar .
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an afterschool special without the courage of its convictions .
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after all the big build-up , the payoff for the audience , as well as the characters , is messy , murky , unsatisfying .
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the film 's sense of imagery gives it a terrible strength , but it 's propelled by the acting .
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they 're going through the motions , but the zip is gone .
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while howard 's appreciation of brown and his writing is clearly well-meaning and sincere , the movie would be impossible to sit through were it not for the supporting cast .
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. . . too dull to enjoy .
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sadly , though many of the actors throw off a spark or two when they first appear , they ca n't generate enough heat in this cold vacuum of a comedy to start a reaction .
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if you ignore the cliches and concentrate on city by the sea 's interpersonal drama , it ai n't half-bad .
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pretty much sucks , but has a funny moment or two .
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the film fits into a genre that has been overexposed , redolent of a thousand cliches , and yet remains uniquely itself , vibrant with originality .
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a small movie with a big heart .
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the premise is in extremely bad taste , and the film 's supposed insights are so poorly thought-out and substance-free that even a high school senior taking his or her first psychology class could dismiss them .
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while centered on the life experiences of a particular theatrical family , this marvelous documentary touches -- ever so gracefully -- on the entire history of the yiddish theater , both in america and israel .
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changing lanes is an anomaly for a hollywood movie ; it 's a well-written and occasionally challenging social drama that actually has something interesting to say .
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a fascinating glimpse into an insular world that gives the lie to many clichM-is and showcases a group of dedicated artists .
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much as we might be interested in gratuitous sexualization , haneke has a different objective in mind -- namely the implications of our craving for fake stimulation .
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that storytelling has value can not be denied . not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .
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take any 12-year-old boy to see this picture , and he 'll be your slave for a year .
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melanie eventually slugs the yankee . too bad the former murphy brown does n't pop reese back .
| 0 |
a gem of a romantic crime comedy that turns out to be clever , amusing and unpredictable .
| 1 |
it 's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of anna chancellor that makes this `` two weddings and a funeral `` fun .
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scores a few points for doing what it does with a dedicated and good-hearted professionalism .
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it 's slow -- very , very slow . it 's not the ultimate depression-era gangster movie . that 's pure pr hype .
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[ d ] oes n't bother being as cloying or preachy as equivalent evangelical christian movies -- maybe the filmmakers know that the likely audience will already be among the faithful .
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boll uses a lot of quick cutting and blurry step-printing to goose things up , but dopey dialogue and sometimes inadequate performances kill the effect .
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so boring that even its target audience talked all the way through it .
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meyjes . . . has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics .
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her fans walked out muttering words like `` horrible `` and `` terrible , `` but had so much fun dissing the film that they did n't mind the ticket cost . in this case zero .
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the film is impressive for the sights and sounds of the wondrous beats the world has to offer .
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could the country bears really be as bad as its trailers ? in a word -- yes .
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it 's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn .
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a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .
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the first fatal attraction was vile enough . do we really need the tiger beat version ?
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an operatic , sprawling picture that 's entertainingly acted , magnificently shot and gripping enough to sustain most of its 170-minute length .
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. . . a guiltless film for nice evening out .
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it 's the kind of movie that , aside from robert altman , spike lee , the coen brothers and a few others , our moviemakers do n't make often enough .
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a coming-of-age movie that hollywood would n't have the guts to make .
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it 's super- violent , super-serious and super-stupid .
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a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome . in the wrong hands , i . e . peploe 's , it 's simply unbearable
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a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .
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the script is n't very good ; not even someone as gifted as hoffman ( the actor ) can make it work .
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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 .
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just because it really happened to you , honey , does n't mean that it 's interesting to anyone else .
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historical dramas fused with love triangle is a well worn conceit . but this films lacks the passion required to sell the material .
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a farce of a parody of a comedy of a premise , it is n't a comparison to reality so much as it is a commentary about our knowledge of films .
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this movie is so bad , that it 's almost worth seeing because it 's so bad .
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less the sensational true-crime hell-jaunt purists might like and more experimental in its storytelling ( though no less horrifying for it ) .
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[ reynolds ] takes a classic story , casts attractive and talented actors and uses a magnificent landscape to create a feature film that is wickedly fun to watch .
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a solid cast , assured direction and complete lack of modern day irony .
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. . . ice age treads predictably along familiar territory , making it a passable family film that wo n't win many fans over the age of 12 .
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the transporter bombards the viewer with so many explosions and side snap kicks that it ends up being surprisingly dull .
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although huppert 's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .
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you can thank me for this . i saw juwanna mann so you do n't have to .
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even as lame horror flicks go , this is lame .
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ritchie 's treatment of the class reversal is majorly ham-fisted , from the repetitive manifestos that keep getting thrown in people 's faces to the fact amber is such a joke .
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jacquot 's strategy allows his cast the benefit of being able to give full performances . . . while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself .
| 1 |
if sinise 's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over .
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( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman 's moist , deeply emotional eyes shine through this bogus veneer . . .
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