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if a horror movie 's primary goal is to frighten and disturb , then they works spectacularly well ... a shiver-inducing , nerve-rattling ride .

oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between .

perhaps the film should be seen as a conversation starter .

spielberg 's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later .

-lrb- haynes ' -rrb- homage to such films as `` all that heaven allows '' and `` imitation of life '' transcends them .

... unlike -lrb- scorsese 's mean streets -rrb- , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .

sheridan 's take on the author 's schoolboy memoir ... is a rather toothless take on a hard young life .

godard has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .

under-rehearsed and lifeless

the film offers an intriguing what-if premise .

rarely have i seen a film so willing to champion the fallibility of the human heart .

a witty , low-key romantic comedy .

an exhausting family drama about a porcelain empire and just as hard a flick as its subject matter .

even the hastily and amateurishly drawn animation can not engage .

with ` bowling for columbine , ' michael moore gives us the perfect starting point for a national conversation about guns , violence , and fear .

it 's the funniest american comedy since graffiti bridge .

a decidedly mixed bag .

... a delicious crime drama on par with the slickest of mamet .

it comes off as so silly that you would n't be surprised if ba , murdock and rest of the a-team were seen giving chase in a black and red van .

paxton 's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre .

mostly works because of the universal themes , earnest performances ... and excellent use of music by india 's popular gulzar and jagjit singh .

about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience 's meat grinder one more time .

but the performances of pacino , williams , and swank keep the viewer wide-awake all the way through .

it somehow managed to make its way past my crappola radar and find a small place in my heart

a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop .

blessed with a searing lead performance by ryan gosling -lrb- murder by numbers -rrb- , the movie is powerful and provocative .

this movie has a strong message about never giving up on a loved one , but it 's not an easy movie to watch and will probably disturb many who see it .

although it does n't always hang together -- violence and whimsy do n't combine easily -- `` cherish '' certainly is n't dull .

the film desperately sinks further and further into comedy futility .

there 's none of the happily-ever - after spangle of monsoon wedding in late marriage -- and that 's part of what makes dover kosashvili 's outstanding feature debut so potent .

the entire film is one big excuse to play one lewd scene after another .

an unremarkable , modern action\/comedy buddy movie whose only nod to nostalgia is in the title .

a backstage must-see for true fans of comedy .

but i do .

who is this movie for ?

ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .

the leads are so unmemorable , despite several attempts at lengthy dialogue scenes , that one eventually resents having to inhale this gutter romancer 's secondhand material .

a relative letdown .

brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life 's harshness .

with miscast leads , banal dialogue and an absurdly overblown climax , killing me softly belongs firmly in the so-bad-it 's - good camp .

it 's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure .

starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other hollywood-action cliches .

unspools like a highbrow , low-key , 102-minute infomercial , blending entrepreneurial zeal with the testimony of satisfied customers .

it 's a sight to behold .

the setting is so cool that it chills the characters , reducing our emotional stake in the outcome of `` intacto 's '' dangerous and seductively stylish game .

if you 're not totally weirded - out by the notion of cinema as community-therapy spectacle , quitting hits home with disorienting force .

better than the tepid star trek : insurrection ; falls short of first contact because the villain could n't pick the lint off borg queen alice krige 's cape ; and finishes half a parsec -lrb- a nose -rrb- ahead of generations .

at times the guys taps into some powerful emotions , but this kind of material is more effective on stage .

anyone else seen this before ?

bearable .

mostly the film is just hectic and homiletic : two parts exhausting men in black mayhem to one part family values .

horrendously amateurish filmmaking that is plainly dull and visually ugly when it is n't incomprehensible .

after collateral damage , you might imagine that most every aggrieved father cliché has been unturned .

laugh-out-loud lines , adorably ditsy but heartfelt performances , and sparkling , bittersweet dialogue that cuts to the chase of the modern girl 's dilemma .

viewers will need all the luck they can muster just figuring out who 's who in this pretentious mess .

the director has injected self-consciousness into the proceedings at every turn .

a well-done film of a self-reflexive , philosophical nature .

wiser souls would have tactfully pretended not to see it and left it lying there

how i killed my father is one of those art house films that makes you feel like you 're watching an iceberg melt -- only it never melts .

sometimes shorter is better .

as schmidt , nicholson walks with a slow , deliberate gait , chooses his words carefully and subdues his natural exuberance .

hardly a nuanced portrait of a young woman 's breakdown , the film nevertheless works up a few scares .

a penetrating glimpse into the tissue-thin ego of the stand-up comic .

the problems of the people in love in the time of money are hardly specific to their era .

the question hanging over the time machine is not , as the main character suggests , ` what if ? '

it 's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing .

as it is , it 's too long and unfocused .

the movie , while beautiful , feels labored , with a hint of the writing exercise about it .

the symbols float like butterflies and the spinning styx sting like bees .

the result is more depressing than liberating , but it 's never boring .

further sad evidence that tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap .

benigni presents himself as the boy puppet pinocchio , complete with receding hairline , weathered countenance and american breckin meyer 's ridiculously inappropriate valley boy voice .

i highly recommend irwin , but not in the way this film showcases him .

payne has created a beautiful canvas , and nicholson proves once again that he 's the best brush in the business .

meant for star wars fans .

the video work is so grainy and rough , so dependent on being ` naturalistic ' rather than carefully lit and set up , that it 's exhausting to watch .

the master of disguise is funny -- not `` ha ha '' funny , `` dead circus performer '' funny .

cynical and serious look at teenage boys doing what they do best - being teenagers .

nonchalantly freaky and uncommonly pleasurable , warm water may well be the year 's best and most unpredictable comedy .

this is a story that zings all the way through with originality , humour and pathos .

what a stiflingly unfunny and unoriginal mess this is !

as pure over-the-top trash , any john waters movie has it beat by a country mile .

personally , i 'd rather watch them on the animal planet .

as commander-in-chief of this film , bigelow demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world .

an annoying orgy of excess and exploitation that has no point and goes nowhere .

astonishing ... -lrb- frames -rrb- profound ethical and philosophical questions in the form of dazzling pop entertainment .

more than simply a portrait of early extreme sports , this peek into the 1970s skateboard revolution is a skateboard film as social anthropology ...

quelle surprise !

bursting through the constraints of its source , this is one adapted - from-television movie that actually looks as if it belongs on the big screen .

dismally dull sci-fi comedy .

executed with such gentle but insistent sincerity , with such good humor and appreciation of the daily grind that only the most hardhearted scrooge could fail to respond .

may seriously impair your ability to ever again maintain a straight face while speaking to a highway patrolman .

grenier is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue .

burns ' fifth beer-soaked film feels in almost every possible way -- from the writing and direction to the soggy performances -- tossed off .

if reno is to the left of liberal on the political spectrum , her tough , funny , rather chaotic show is n't subversive so much as it is nit-picky about the hypocrisies of our time .

a first-class road movie that proves you can run away from home , but your ego and all your problems go with you .

maybe thomas wolfe was right : you ca n't go home again .

the plot 's clearly mythic structure may owe more to disney 's strong sense of formula than to the original story .

the nonstop artifice ultimately proves tiresome , with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations .

it makes me say the obvious : abandon all hope of a good movie ye who enter here .