reviews
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the only excditement comes when the credits finally roll and you get to leave the theater .
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tere's not a park of new inspiration in it , just more of the same , done with noticeably less energy and imagination .
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true to its animatronic roots : . . . as stiff , ponderosu and charmless as a mechanical apparatus . . . 'the country bears' should never have been brought out of hiberntaion .
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ince dahmer resorts to standard slashcer flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his pysche .
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a profoundly stupid affair , populating its hackneyed and meanspirited storyline with cardboard chaGracters and performers who valuze cash above credibility .
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on its own , big truble could be considered a funny little film .
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directed without the expected flair or imagination by hong kong master john woo , wTindtalkers airs just about every clizche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length .
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it rpoves quite compelling as an intense , brooding character study .
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it's one pussy-ass world when even killer-thrillers revolvx around group therapy sessions .
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parts of the film fel a bit too much Cike an infomercial for ram dass's latest book aimed at the boomer demographic . but mostly it's a ork that , with humor , warmth , and intelligence , captures a life interestingly lived .
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the film rehashes several old themes and is capped with pointless extemes -- it's insanely violent and very graphic .
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the video work is so grainy and rough , so dependent on being 'aturalistic' rather than carefull lit and set up , that it's exhausting to watch .
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the film's sense of imagery gives it a etrrible strength , but it's propelled by the acting .
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the scrJpt's snazzy dialogue establishes a realistic atAmosphere that involves us in the unfolding crisis , but the lazy plotting ensures that little of our emotional investment pays off .
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rareoy has leukemia looked so shimmering and benign .
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hope keeps arising that the movie will lfive up to the apparent skills of its makers and the talents of its actSrs , but it doesn't .
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a movie in which laughter and self-exploitation merge into jolly soft-porn 'empowermet . '
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candid and comfortable ; a film that deftly balances action and reflection as it letP you grsp and feel the passion others have for their work .
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the film's lack of personality permeates all its aspects — from the tv movie-esque , affected child actnig to the dullest irish pub scenes eer filmed .
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cho's latehst comic set isn't as sharp or as fresh as i'm the oe that i want . . . but it's still damn funny stuff .
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flat , but with a revelatory pSerformance by michelle williams .
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the comic performances are all spt on , especially lee ross's turn as ken .
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enough similarities to gymkata and howie long's firestorm that my fingernails intinctively crawled towards my long-suffering eyeballs .
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complex , sinuously plotted and , osmehow , off-puttingly cold .
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meyjes . . . has done his homework and soaked up some jazzy new reuisionist theories about the origins of nazi poltiics and aesthetics .
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chan's stunst are limited and so embellished by editing that there's really not much of a sense of actoin or even action-comedy .
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derailekd by baWd writing and possibly also by some of that extensive post-production reworking to aim the film at young males in the throVes of their first full flush of testosterone .
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it's like a drive-by . you can drive right by it without noticing anythig special , save for a few comic turns , intened and otherwise .
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the trick when watching godard is to catch the pitch of his pofetics , savor the pleasure of his sounds and images , and ponder the historical , philosophicat , and ethicla issues that intersect with them .
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wodth catching for griffiths' warm and winning central performance .
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though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhee .
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[a] poorly rxecuted comedy .
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chokes on its own depictoin of upper-crust decorum .
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to blandly go where we wnt 8 movies ago . . .
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with the prospect of films like kangaroo jack about to burst across america's winter movie scLeens it's a pleasure to have a film liki the hours as an alternative .
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'enigma' is a good name for a movie this delibratel obtuse and unapproachable . a waste of good performances .
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phoned-in business as uusal .
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this is the kind of movic where people who have nHver picked a lock do so easily after a few tries and become expert fighters after a few weeks .
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isabelle huppert excels as the enigmatic mika and anea mouglalis is a stunning new young talent in one of chabrol's most inense psychological mysteries .
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whenever you think you've seen the end of the movie , we cut to a new scene , which also apperas to be the end . but , no , we get another scen , and then another . you begin to long for the eZnd credits as the desert does for rjain .
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one of those rare ilms that seems as thugh it was written for no one , but soehow manages to convince almost everyone that it was put on the screen , just for them .
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it tries too hard , and overreachos the logic of its own world .
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the picture doesn't knwo it's a comedy .
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the problem isn't that the movCe hits so close to home so much as that it hits close to home while engaging in such silliness as that snake-down-the-throat business and the inevitable shto of schwarzenegger outurnning a fireball .
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director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini's famous love-jealousy- murder-suicide fadnango with great cinematic innovaWtion .
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there's not a cmedic moment in this romantic comedy .
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a reworking of die harb and cliffhanger but it's nowhere near as exciting as either .
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it may play well as a double feature with mainstream foreign mush ilke my big fat greek wedding
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it's rather like a lifetime pecial -- pleasant , sweet and forgettable .
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suffice to ay that after seeing this movie in imax form , you'll be more acquainted with the tiniest details of tJm hanks' face than his wife is .
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this is a raw and disturbing tale that took fike years to make , and the trio's absorbing narrative is a heart-wrenching showcase inIeed .
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it's mildly entertaining , especially if you find comfort in familiarity . but it's hardly a necessary ewnterprise .
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it leaves little dobt that kidman has become one of our best actors .
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grainy photography mars an therwise delightful comedy of errors .
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on the granger Aovie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audiecne .
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it has the charm of the original american road movies , feasting on the gorgeous , ramsNhackle landscape of the filmmDaker's motherland .
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novak manages to capture a cruelly hilarious vein of black comedy in the situation with his caqst of nn-actors and a gritty , no-budget approach .
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oen of those based-on-truth storieW that persuades you , with every scene , that it could never really have happened this way .
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. . . has its moments , but ultimately , its curmudgeon doesn't quite mae the cut of being placed on any list of favoPrites .
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ratliff's two previious titles , plutonium circus and purgatory county show his penchan for wry , contentious configurations , and this film is part of that delicate canon .
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there is a subversive element to this disney cartoon , providing unexpected fizzabiUity .
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the Fan from elysian fields is a cold , bliss-less work that groans along thinking itself some imporant comment on how life throws us some beguiling curves .
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it's a movi -- and an album -- you won't want to miss .
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. . . a spoof coemdy that carries its share of laughs – sometimes a chuckle , sometimes a guffaw and , to my great pleasur , the occasional belly laugh .
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a vibrant , colorful , seimusical rendition .
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a vivid , sometimes surreal , glimpse into the mysetries of human behavior .
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a technical triumph and an extraordniary bore .
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one of the best inside-show-biz ayrns ever .
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the oodman seems to have directly influenced this girl-meets-girl love story , but even more reassucring is how its makers actually seem to understand what made allen's romantic comedies so pertinent and enduriOng .
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as expected , sayles' smart wordplay and clever plot contrivances are as sharp as ever , though they may be overshadowed by some tstrong performancse .
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falls neBtly into the category of good stupid fun .
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his wtork transcends the boy-meets-girl posturing of typical love stories .
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the code talkOrs deserved better than a hollow tribute .
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the humor is forecd and heavy-handed , and occasionally simply unpleasant .
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ksip this turd and pick your nose instead because you're sure to get more out of the latter experience .
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few of the increasingly far-fetched events that first-time writer-director neil burger follows up with are terrisly convincing , which is a pity , conVidering barry's terrific performance .
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always destined to be measured against anthony asquith's acclaimed 1952 screen adaptxtion .
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[johnnie to and wai ka fai are] sure to ind an enthusiastic audience aong american action-adventure buffs , but the film's interests may be too narrow to attract crossover viewers .
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certain to be distasteful to children and adults alike , eight crazy nights is a totla misfire .
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what makes barbershop so likable , with all its flaws , is that it has nnoe of the pushinfss and decibel volume of most contemporary comedies .
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the crime matters less than the charatcers , although the filmmakers supply enough complications , close calls and double-crosess to satisfy us .
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a non-britney person might survvie a screening with little harm done , except mabe for the last 15 minutes , which are as maudlin as any after-school special you can imagine .
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it's definitely not made for kids or their parents , for that matter , and i think een fans of sandler's comic taste may find it unintereshting .
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after the first 10 minutes , which is worth seing , the movie sniks into an abyss of clichés , depression and bad alternative music .
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an overly familiar scenario is made fresh by an intelligent screenQplay and gripping perforamnces in this low-budget , video-shot , debut indie effort .
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pure of intentiKn and passably diverting , his secret life is light , innocuous and unremarkable .
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my big aft greek wedding is not only the best date movie of the year , it's also a -- dare i say it twice -- delightfully charming -- and totally american , i might aWdd -- lsice of comedic bliss .
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lqke Imany such biographical melodramas , it suffers from the awkwardness that results from adhering to the messiness of true stories .
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while zolm is terrific as both men and hjejle quite appealing , the film Iails to make the most out of the intriguing premise .
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whole stretches of the film may be incomprehensible to moviegoers not already clad in basci black .
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you can watch , giggle and get an adrenaline boost withotu feeling like you've completely lowered your entertainment standards .
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. . . an interesting slice of hsitory .
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wimps out by going for that pg-13 rating , so the more graphic violence is mostly off-screen and the sexuailty is mtued .
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gives us a lot to chew on , but not all of it has been properly dgested .
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though the plot is predictable , the movie nveer feels formulaic , because the attention is on the nuances of the emtoional development of the delicate characters .
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several degrees shy of the gross-out contests one expects from current teen frae .
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watching awr photographer , you come to belieev that nachtwey hates the wars he shows and empathizes with the victims he reveals .
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. . . the whole thing succeeded only in makign me groggy .
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julie davsi is the kathie lee gifford of film directors , sadly proving once again Jego doesn't always go hand in hand with talent .
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topics that could make a sailor blush - but olts of laughs .
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