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festers in just such a dungpile that you 'd swear you were watching monkeys flinging their feces at you .

yes , i have given this movie a rating of zero .

those who are n't put off by the film 's austerity will find it more than capable of rewarding them .

we could have expected a little more human being , and a little less product .

tom shadyac has learned a bit more craft since directing adams , but he still lingers over every point until the slowest viewer grasps it .

veers uncomfortably close to pro-serb propaganda .

a fascinating literary mystery story with multiple strands about the controversy of who really wrote shakespeare 's plays .

... one of the more influential works of the ` korean new wave ' .

in the long , dishonorable history of quickie teen-pop exploitation , like mike stands out for its only partly synthetic decency .

a movie that seems motivated more by a desire to match mortarboards with dead poets society and good will hunting than by its own story .

boy , has this franchise ever run out of gas .

two hours of junk .

this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .

infidelity drama is nicely shot , well-edited and features a standout performance by diane lane .

overall , it 's a pretty mediocre family film .

but the 2002 film does n't really believe in it , and breaks the mood with absurdly inappropriate ` comedy ' scenes .

like life on the island , the movie grows boring despite the scenery .

it 's packed to bursting with incident , and with scores of characters , some fictional , some from history .

and `` they 're coming ! ''

a glossy knock-off of a b-movie revenge flick .

informative , intriguing , observant , often touching ... gives a human face to what 's often discussed in purely abstract terms .

a compelling pre-wwii drama with vivid characters and a warm , moving message .

skip this turd and pick your nose instead because you 're sure to get more out of the latter experience .

what a concept , what an idea , what a thrill ride .

be forewarned , if you 're depressed about anything before watching this film , you may just end up trying to drown yourself in a lake afterwards .

i 'm all for the mentally challenged getting their fair shot in the movie business , but surely it does n't have to be as a collection of keening and self-mutilating sideshow geeks .

the filmmakers lack the nerve ... to fully exploit the script 's potential for sick humor .

it 's just merely very bad .

what begins as a film in the tradition of the graduate quickly switches into something more recyclable than significant .

b picture , and i mean that as a compliment .

leading a double life in an american film only comes to no good , but not here .

or else a doggie winks .

especially compared with the television series that inspired the movie .

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 .

this 90-minute dud could pass for mike tyson 's e !

a generic family comedy unlikely to be appreciated by anyone outside the under-10 set .

an amateurish , quasi-improvised acting exercise shot on ugly digital video .

the very simple story seems too simple and the working out of the plot almost arbitrary .

what remains is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip .

heartwarming here relies less on forced air than on petter næss ' delicate , clever direction ... and a wonderful , imaginative script by axel hellstenius .

the urban landscapes are detailed down to the signs on the kiosks , and the color palette , with lots of somber blues and pinks , is dreamy and evocative .

the film truly does rescue -lrb- the funk brothers -rrb- from motown 's shadows .

this is not chabrol 's best , but even his lesser works outshine the best some directors can offer .

it 's 51 times better than this .

directors harry gantz and joe gantz have chosen a fascinating subject matter , but the couples exposing themselves are n't all that interesting .

it 's a brilliant , honest performance by nicholson , but the film is an agonizing bore except when the fantastic kathy bates turns up .

of all the halloween 's , this is the most visually unappealing .

light , silly , photographed with colour and depth , and rather a good time .

nothing about the film -- with the possible exception of elizabeth hurley 's breasts -- is authentic .

with dickens ' words and writer-director douglas mcgrath 's even-toned direction , a ripping good yarn is told .

certainly .

simultaneously heartbreakingly beautiful and exquisitely sad .

i approached the usher and said that if she had to sit through it again , she should ask for a raise .

the film is enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film and stage adaptations of the work .

these three films form a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people .

insanely hilarious !

the balkans provide the obstacle course for the love of a good woman .

it works its magic with such exuberance and passion that the film 's length becomes a part of its fun .

even if the enticing prospect of a lot of nubile young actors in a film about campus depravity did n't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .

it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots .

this version of h.g. wells ' time machine was directed by h.g. wells ' great-grandson .

if the real-life story is genuinely inspirational , the movie stirs us as well .

the large-frame imax camera lends itself beautifully to filming the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up fish lovers .

the ending does n't work ... but most of the movie works so well i 'm almost recommending it , anyway -- maybe not to everybody , but certainly to people with a curiosity about how a movie can go very right , and then step wrong .

why anyone who is not a character in this movie should care is beyond me .

the plot is romantic comedy boilerplate from start to finish .

it is depressing , ruthlessly pained and depraved , the movie equivalent of staring into an open wound .

the film affords us intriguing glimpses of the insights gleaned from a lifetime of spiritual inquiry , but ram dass : fierce grace does n't organize it with any particular insight .

as aimless as an old pickup skidding completely out of control on a long patch of black ice , the movie makes two hours feel like four .

a comedy-drama of nearly epic proportions rooted in a sincere performance by the title character undergoing midlife crisis .

a horrible , 99-minute stink bomb .

it briefly flirts with player masochism , but the point of real interest - -- audience sadism -- is evaded completely .

a dull , somnambulant exercise in pretension whose pervasive quiet is broken by frequent outbursts of violence and noise .

the doofus-on - the-loose banter of welcome to collinwood has a cocky , after-hours loopiness to it .

it is n't quite one of the worst movies of the year .

cinematic pratfalls given a working over .

underachieves only in not taking the shakespeare parallels quite far enough .

apparently writer-director attal thought he need only cast himself and his movie-star wife sitting around in their drawers to justify a film .

handled correctly , wilde 's play is a masterpiece of elegant wit and artifice .

this is the best star trek movie in a long time .

a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others .

it 's time to let your hair down -- greek style .

charlize chases kevin with a gun .

the directive to protect the code at all costs also begins to blur as the importance of the man and the code merge

steers has an unexpectedly adamant streak of warm-blooded empathy for all his disparate manhattan denizens -- especially the a \*\* holes .

... the same tired old gags , modernized for the extreme sports generation .

it is sentimental but feels free to offend , is analytical and then surrenders to the illogic of its characters , is about grief and yet permits laughter .

a slight and obvious effort , even for one whose target demographic is likely still in the single digits , age-wise .

this will go on so long as there are moviegoers anxious to see strange young guys doing strange guy things .

a story which fails to rise above its disgusting source material .

a sincere but dramatically conflicted gay coming-of-age tale .

` in this poor remake of such a well loved classic , parker exposes the limitations of his skill and the basic flaws in his vision . '

pull -lrb- s -rrb- off the rare trick of recreating not only the look of a certain era , but also the feel .

the actors try hard but come off too amateurish and awkward .

easily the most thoughtful fictional examination of the root causes of anti-semitism ever seen on screen .

... either you 're willing to go with this claustrophobic concept or you 're not .

a family-friendly fantasy that ends up doing very little with its imaginative premise .

its vision of that awkward age when sex threatens to overwhelm everything else is acute enough to make everyone who has been there squirm with recognition .

new ways of describing badness need to be invented to describe exactly how bad it is .

it 's a bad sign when you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over , but it 's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest .