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a less-than-thrilling thriller .

would 've been nice if the screenwriters had trusted audiences to understand a complex story , and left off the film 's predictable denouement .

the hard-to-predict and absolutely essential chemistry between the down-to-earth bullock and the nonchalant grant proves to be sensational , and everything meshes in this elegant entertainment .

morton deserves an oscar nomination .

you 'll just have your head in your hands wondering why lee 's character did n't just go to a bank manager and save everyone the misery .

viewing this underdramatized but overstated film is like watching a transcript of a therapy session brought to humdrum life by some freudian puppet .

a moving and stark reminder that the casualties of war reach much further than we imagine .

no big whoop , nothing new to see , zero thrills , too many flashbacks and a choppy ending make for a bad film .

wedding feels a bit anachronistic .

schepisi , aided by a cast that seems to include every top-notch british actor who did not appear in gosford park -lrb- as well as one , ms. mirren , who did -rrb- , has succeeded beyond all expectation .

even though it is infused with the sensibility of a video director , it does n't make for completely empty entertainment

let 's face it -- there are n't many reasons anyone would want to see crossroads if they 're not big fans of teen pop kitten britney spears .

weighted down with slow , uninvolving storytelling and flat acting .

me without you has a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .

consummate actor barry has done excellent work here .

... the picture 's cleverness is ironically muted by the very people who are intended to make it shine .

what makes the movie work -- to an admittedly limited extent -- is the commitment of two genuinely engaging performers .

you come away wishing , though , that the movie spent a lot less time trying to make a credible case for reports from the afterlife and a lot more time on the romantic urgency that 's at the center of the story .

he has a great cast and a great idea .

even when there are lulls , the emotions seem authentic , and the picture is so lovely toward the end ... you almost do n't notice the 129-minute running time .

what we get ... is caddyshack crossed with the loyal order of raccoons .

tom green and an ivy league college should never appear together on a marquee , especially when the payoff is an unschooled comedy like stealing harvard , which fails to keep 80 minutes from seeming like 800 .

runs on the pure adrenalin of pacino 's performance .

`` spider-man is better than any summer blockbuster we had to endure last summer , and hopefully , sets the tone for a summer of good stuff .

the film is visually dazzling , the depicted events dramatic , funny and poignant .

... a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old , would have a good time here .

one of the oddest and most inexplicable sequels in movie history .

stirs potentially enticing ingredients into an uneasy blend of ghost and close encounters of the third kind .

those who love cinema paradiso will find the new scenes interesting , but few will find the movie improved .

crush could be the worst film a man has made about women since valley of the dolls .

solaris is rigid and evasive in ways that soderbergh 's best films , `` erin brockovich , '' `` out of sight '' and `` ocean 's eleven , '' never were .

a modestly made but profoundly moving documentary .

the filmmaker ascends , literally , to the olympus of the art world , but he would have done well to end this flawed , dazzling series with the raising of something other than his own cremaster .

... grows decidedly flimsier with its many out-sized , out of character and logically porous action set pieces .

if the idea of the white man arriving on foreign shores to show wary natives the true light is abhorrent to you , the simplistic heaven will quite likely be more like hell .

control-alt-delete simone as quickly as possible

this hastily mounted production exists only to capitalize on hopkins ' inclination to play hannibal lecter again , even though harris has no immediate inclination to provide a fourth book .

please , someone , stop eric schaeffer before he makes another film .

heaven is a haunting dramatization of a couple 's moral ascension .

a loud , low-budget and tired formula film that arrives cloaked in the euphemism ` urban drama . '

lovingly photographed in the manner of a golden book sprung to life , stuart little 2 manages sweetness largely without stickiness .

it 's been done before but never so vividly or with so much passion .

serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination .

this overproduced piece of dreck is shockingly bad and absolutely unnecessary .

it 's hard to imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb .

plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .

... plays like a badly edited , 91-minute trailer -lrb- and -rrb- the director ca n't seem to get a coherent rhythm going .

by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre .

a heartbreakingly thoughtful minor classic , the work of a genuine and singular artist .

the animation merely serves up a predictable , maudlin story that swipes heavily from bambi and the lion king , yet lacks the emotional resonance of either of those movies .

neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .

it would be disingenuous to call reno a great film , but you can say that about most of the flicks moving in and out of the multiplex .

as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .

this heist flick about young brooklyn hoods is off the shelf after two years to capitalize on the popularity of vin diesel , seth green and barry pepper .

an awkwardly garish showcase that diverges from anything remotely probing or penetrating .

diverting french comedy in which a husband has to cope with the pesky moods of jealousy .

each scene wreaks of routine ; the film never manages to generate a single threat of suspense .

certain to be distasteful to children and adults alike , eight crazy nights is a total misfire .

i have n't laughed that hard in years !

a gracious , eloquent film that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past forever lost .

possibly not since grumpy old men have i heard a film so solidly connect with one demographic while striking out with another .

a passionately inquisitive film determined to uncover the truth and hopefully inspire action .

both a successful adaptation and an enjoyable film in its own right .

meyjes focuses too much on max when he should be filling the screen with this tortured , dull artist and monster-in-the - making .

hilarious musical comedy though stymied by accents thick as mud .

-lrb- it -rrb- highlights not so much the crime lord 's messianic bent , but spacey 's .

tsai has managed to create an underplayed melodrama about family dynamics and dysfunction that harks back to the spare , unchecked heartache of yasujiro ozu .

the movie is about as humorous as watching your favorite pet get buried alive .

bears is even worse than i imagined a movie ever could be .

dramatically lackluster .

this is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the american underground .

tartakovsky 's team has some freakish powers of visual charm , but the five writers slip into the modern rut of narrative banality .

the sweetest thing , a romantic comedy with outrageous tendencies , may be a mess in a lot of ways .

sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments .

... a cheap , ludicrous attempt at serious horror .

an unremittingly ugly movie to look at , listen to , and think about , it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .

enticing and often funny documentary .

but one thing 's for sure : it never comes close to being either funny or scary .

a brain twister , less a movie-movie than a funny and weird meditation on hollywood , success , artistic integrity and intellectual bankruptcy .

let 's hope not .

i was amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .

such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls '' and last year 's `` rollerball . ''

chamber of secrets will find millions of eager fans .

you can see the would-be surprises coming a mile away , and the execution of these twists is delivered with a hammer .

i can analyze this movie in three words : thumbs friggin ' down .

it is messy , uncouth , incomprehensible , vicious and absurd .

kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party .

for those for whom the name woody allen was once a guarantee of something fresh , sometimes funny , and usually genuinely worthwhile , hollywood ending is a depressing experience

first and foremost ... the reason to go see `` blue crush '' is the phenomenal , water-born cinematography by david hennings .

it may even fall into the category of films you love to hate .

like a less dizzily gorgeous companion to mr. wong 's in the mood for love -- very much a hong kong movie despite its mainland setting .

loud , chaotic and largely unfunny .

the main characters are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort .

the film 's best trick is the way that it treats conspiracy as a kind of political blair witch , a monstrous murk that haunts us precisely because it can never be seen .

labute ca n't avoid a fatal mistake in the modern era : he 's changed the male academic from a lower-class brit to an american , a choice that upsets the novel 's exquisite balance and shreds the fabric of the film .

every five minutes or so , someone gets clocked .

if that does n't clue you in that something 's horribly wrong , nothing will .

this loud and thoroughly obnoxious comedy about a pair of squabbling working-class spouses is a deeply unpleasant experience .

a puzzling experience .

the film has a terrific look and salma hayek has a feel for the character at all stages of her life .