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a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling .

i 'm happy to have seen it -- not as an alternate version , but as the ultimate exercise in viewing deleted scenes .

an exercise in cynicism every bit as ugly as the shabby digital photography and muddy sound .

has all the scenic appeal of a cesspool .

the most ill-conceived animated comedy since the 1991 dog rover dangerfield .

kitschy , flashy , overlong soap opera .

salma goes native and she 's never been better in this colorful bio-pic of a mexican icon .

his scenes are short and often unexpected .

the asylum material is gripping , as are the scenes of jia with his family .

the inevitable double - and triple-crosses arise , but the only drama is in waiting to hear how john malkovich 's reedy consigliere will pronounce his next line .

the soundtrack alone is worth the price of admission .

impostor does n't do much with its template , despite a remarkably strong cast .

-lrb- kline 's -rrb- utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code , and as a flawed human being who ca n't quite live up to it .

like its predecessor , it 's no classic , but it provides a reasonably attractive holiday contraption , one that families looking for a clean , kid-friendly outing should investigate .

thanks to ice cube , benjamins feels an awful lot like friday in miami .

fubar is very funny , but not always in a laugh-out-loud way .

... generically , forgettably pleasant from start to finish .

i hope the movie is widely seen and debated with appropriate ferocity and thoughtfulness .

she may not be real , but the laughs are .

clumsy , obvious , preposterous , the movie will likely set the cause of woman warriors back decades .

a depressingly retrograde , ` post-feminist ' romantic comedy that takes an astonishingly condescending attitude toward women .

scherfig 's light-hearted profile of emotional desperation is achingly honest and delightfully cheeky .

you can sip your vintage wines and watch your merchant ivory productions ; i 'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week .

many went to see the attraction for the sole reason that it was hot outside and there was air conditioning inside , and i do n't think that a.c. will help this movie one bit .

even more baffling is that it 's funny .

you 'll trudge out of the theater feeling as though you rode the zipper after eating a corn dog and an extra-large cotton candy .

a highly spirited , imaginative kid 's movie that broaches neo-augustinian theology : is god stuck in heaven because he 's afraid of his best-known creation ?

deserves high marks for political courage but barely gets by on its artistic merits .

it 's not a film to be taken literally on any level , but its focus always appears questionable .

this often-hilarious farce manages to generate the belly laughs of lowbrow comedy without sacrificing its high-minded appeal .

the pianist is polanski 's best film .

the camera twirls !

oliveira seems to pursue silent film representation with every mournful composition .

you feel good , you feel sad , you feel pissed off , but in the end , you feel alive - which is what they did .

utter mush ... conceited pap .

think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch .

a frustrating ` tweener ' -- too slick , contrived and exploitative for the art houses and too cynical , small and decadent for the malls .

predictably soulless techno-tripe .

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

there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch .

the characters are paper thin and the plot is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects .

there is simply no doubt that this film asks the right questions at the right time in the history of our country .

a dark , quirky road movie that constantly defies expectation .

put it somewhere between sling blade and south of heaven , west of hell in the pantheon of billy bob 's body of work .

while not quite a comedy , the film tackles its relatively serious subject with an open mind and considerable good cheer , and is never less than engaging .

a devastating indictment of unbridled greed and materalism .

diggs and lathan are among the chief reasons brown sugar is such a sweet and sexy film .

but this new jangle of noise , mayhem and stupidity must be a serious contender for the title .

darkly funny and frequently insightful .

really quite funny .

it 's a tour de force , written and directed so quietly that it 's implosion rather than explosion you fear .

though it was made with careful attention to detail and is well-acted by james spader and maggie gyllenhaal , i felt disrespected .

diaz wears out her welcome in her most charmless performance

the actors improvise and scream their way around this movie directionless , lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen .

a lot of talent is wasted in this crass , low-wattage endeavor .

personal velocity ought to be exploring these women 's inner lives , but it never moves beyond their surfaces .

for a film that celebrates radical , nonconformist values , what to do in case of fire ?

it 's a visual rorschach test and i must have failed .

draggin ' about dragons

amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances .

i ca n't .

saved from being merely way-cool by a basic , credible compassion .

... an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller .

... a trashy little bit of fluff stuffed with enjoyable performances and a bewildering sense of self-importance

like other great documentaries ... this goes after one truth -lrb- the ford administration 's complicity in tearing ` orphans ' from their mothers -rrb- and stumbles upon others even more compelling .

as an actress , madonna is one helluva singer .

a porn film without the sex scenes .

cox is far more concerned with aggrandizing madness , not the man , and the results might drive you crazy .

seagal , who looks more like danny aiello these days , mumbles his way through the movie .

fudges fact and fancy with such confidence that we feel as if we 're seeing something purer than the real thing .

the cast is top-notch and i predict there will be plenty of female audience members drooling over michael idemoto as michael .

it 's all stitched together with energy , intelligence and verve , enhanced by a surplus of vintage archive footage .

so muddled , repetitive and ragged that it says far less about the horrifying historical reality than about the filmmaker 's characteristic style .

`` analyze that '' is one of those crass , contrived sequels that not only fails on its own , but makes you second-guess your affection for the original .

fairy-tale formula , serves as a paper skeleton for some very good acting , dialogue , comedy , direction and especially charm .

the respective charms of sandra bullock and hugh grant have worn threadbare .

the quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths .

i 'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap cliché .

not the best herzog perhaps , but unmistakably herzog .

tiresomely derivative and hammily acted .

i walked away from this new version of e.t. just as i hoped i would -- with moist eyes .

-lrb- it -rrb- has the feel of a summer popcorn movie .

what should have been a cutting hollywood satire is instead about as fresh as last week 's issue of variety .

the film does a solid job of slowly , steadily building up to the climactic burst of violence .

entertaining but like shooting fish in a barrel .

the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .

puts to rest any thought that the german film industry can not make a delightful comedy centering on food .

no amount of arty theorizing -- the special effects are ` german-expressionist , ' according to the press notes -- can render it anything but laughable .

a well-executed spy-thriller .

the trailer is a riot .

alas , getting there is not even half the interest .

sheridan is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb .

as improbable as this premise may seem , abbass 's understated , shining performance offers us the sense that on some elemental level , lilia deeply wants to break free of her old life .

a brutally honest documentary about a much anticipated family reunion that goes wrong thanks to culture shock and a refusal to empathize with others .

confounding because it solemnly advances a daringly preposterous thesis .

he nonetheless appreciates the art and reveals a music scene that transcends culture and race .

a naturally funny film , home movie makes you crave chris smith 's next movie .

director hoffman , his writer and kline 's agent should serve detention

it 's everything you 'd expect -- but nothing more .

with little visible talent and no energy , colin hanks is in bad need of major acting lessons and maybe a little coffee .