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a work of extraordinary journalism , but it is also a work of deft and subtle poetry .

instead , he focuses on the anguish that can develop when one mulls leaving the familiar to traverse uncharted ground .

if there 's one big point to promises , it 's that nothing can change while physical and psychological barriers keep the sides from speaking even one word to each other .

this is one baaaaaaaaad movie .

maggie smith as the ya-ya member with the o2-tank will absolutely crack you up with her crass , then gasp for gas , verbal deportment .

granddad of le nouvelle vague , jean-luc godard continues to baffle the faithful with his games of hide-and-seek .

brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life .

self-congratulatory , misguided , and ill-informed , if nonetheless compulsively watchable .

there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

photographed with melancholy richness and eloquently performed yet also decidedly uncinematic .

spectacular in every sense of the word , even if you don ' t know an orc from a uruk-hai .

if i have to choose between gorgeous animation and a lame story -lrb- like , say , treasure planet -rrb- or so-so animation and an exciting , clever story with a batch of appealing characters , i 'll take the latter every time .

it 's a lovely , eerie film that casts an odd , rapt spell .

one fantastic -lrb- and educational -rrb- documentary .

one of those staggeringly well-produced , joylessly extravagant pictures that keep whooshing you from one visual marvel to the next , hastily , emptily .

a funny and touching film that is gorgeously acted by a british cast to rival gosford park 's .

an incoherent jumble of a film that 's rarely as entertaining as it could have been .

i love the robust middle of this picture .

children of the century , though well dressed and well made , ultimately falls prey to the contradiction that afflicts so many movies about writers .

there is so much plodding sensitivity .

intriguing and downright intoxicating .

so brisk is wang 's pacing that none of the excellent cast are given air to breathe .

with the cheesiest monsters this side of a horror spoof , which they is n't , it is more likely to induce sleep than fright .

with jump cuts , fast editing and lots of pyrotechnics , yu clearly hopes to camouflage how bad his movie is .

except it 's much , much better .

good fun , good action , good acting , good dialogue , good pace , good cinematography .

they exist for hushed lines like `` they 're back ! ''

is that it 's a crime movie made by someone who obviously knows nothing about crime .

jason patric and ray liotta make for one splendidly cast pair .

there 's no clear picture of who killed bob crane .

if you adored the full monty so resoundingly that you 're dying to see the same old thing in a tired old setting , then this should keep you reasonably entertained .

not a bad premise , but the execution is lackluster at best .

insightfully written , delicately performed

in my opinion , analyze that is not as funny or entertaining as analyze this , but it is a respectable sequel .

the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep .

it 's no lie -- big fat liar is a real charmer .

you 'll cry for your money back .

this little film is so slovenly done , so primitive in technique , that it ca n't really be called animation .

another boorish movie from the i-heard-a-joke - at-a-frat-party school of screenwriting .

clayburgh and tambor are charming performers ; neither of them deserves eric schaeffer .

the pitch must have read like a discarded house beautiful spread .

a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time .

life on the rez is no picnic : this picture shows you why .

what you expect is just what you get ... assuming the bar of expectations has n't been raised above sixth-grade height .

when the violence actually shocked ?

aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .

an ambitious , serious film that manages to do virtually everything wrong ; sitting through it is something akin to an act of cinematic penance .

while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast ... have made the old boy 's characters more quick-witted than any english lit major would have thought possible .

the aaa of action , xxx is a blast of adrenalin , rated eee for excitement .

it 's all surface psychodramatics .

less-than-compelling documentary of a yiddish theater clan .

it 's a documentary that says that the alternate sexuality meant to set you free may require so much relationship maintenance that celibacy can start looking good .

scott delivers a terrific performance in this fascinating portrait of a modern lothario .

possession is in the end an honorable , interesting failure .

no amount of burning , blasting , stabbing , and shooting can hide a weak script .

has the marks of a septuagenarian ; it 's a crusty treatment of a clever gimmick .

hollywood 's answer to an air ball .

stiff and schmaltzy and clumsily directed .

the film virtually chokes on its own self-consciousness .

the characters are interesting and the relationship between yosuke and saeko is worth watching as it develops , but there 's not enough to the story to fill two hours .

a genuinely moving and wisely unsentimental drama .

the farcical elements seemed too pat and familiar to hold my interest , yet its diverting grim message is a good one .

parents , on the other hand , will be ahead of the plot at all times , and there is n't enough clever innuendo to fil

a delightful , if minor , pastry of a movie .

a sexy , surprising romance ... idemoto and kim make a gorgeous pair ... their scenes brim with sexual possibility and emotional danger .

barely .

there are n't too many films that can be as simultaneously funny , offbeat and heartwarming -lrb- without a thick shmear of the goo , at least -rrb- , but `` elling '' manages to do all three quite well , making it one of the year 's most enjoyable releases .

as a girl-meets-girl romantic comedy , kissing jessica steinis quirky , charming and often hilarious .

most of the film feels conceived and shot on the fly -- like between lunch breaks for shearer 's radio show and his simpson voice-overs .

one of the worst movies of the year .

the best drug addition movies are usually depressing but rewarding .

like brosnan 's performance , evelyn comes from the heart .

a fast-paced , glitzy but extremely silly piece .

the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today 's hollywood .

the catch is that they 're stuck with a script that prevents them from firing on all cylinders .

proves mainly that south korean filmmakers can make undemanding action movies with all the alacrity of their hollywood counterparts .

how about starting with a more original story instead of just slapping extreme humor and gross-out gags on top of the same old crap ?

a very familiar tale , one that 's been told by countless filmmakers about italian - , chinese - , irish - , latin - , indian - , russian - and other hyphenate american young men struggling to balance conflicting cultural messages .

marvelously entertaining and deliriously joyous documentary .

as a vehicle to savour binoche 's skill , the film is well worthwhile .

steers , in his feature film debut , has created a brilliant motion picture .

the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string .

this would-be ` james bond for the extreme generation ' pic is one big , dumb action movie .

initial strangeness inexorably gives way to rote sentimentality and mystical tenderness becomes narrative expedience .

evelyn may be based on a true and historically significant story , but the filmmakers have made every effort to disguise it as an unimaginative screenwriter 's invention .

characterisation has been sacrificed for the sake of spectacle .

a farce of a parody of a comedy of a premise , it is n't a comparison to reality so much as it is a commentary about our knowledge of films .

it turns out to be smarter and more diabolical than you could have guessed at the beginning .

is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .

an example of quiet , confident craftsmanship that tells a sweet , charming tale of intergalactic friendship .

` would n't it be nice if all guys got a taste of what it 's like on the other side of the bra ? '

the origin story is well told , and the characters will not disappoint anyone who values the original comic books .

cuaron repeatedly , perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective .

the thing looks like a made-for-home-video quickie .

reeboir varies between a sweet smile and an angry bark , while said attempts to wear down possible pupils through repetition .

`` frailty '' starts out like a typical bible killer story , but it turns out to be significantly different -lrb- and better -rrb- than most films with this theme .

gaghan captures the half-lit , sometimes creepy intimacy of college dorm rooms , a subtlety that makes the silly , over-the-top coda especially disappointing .

a movie that at its best does n't just make the most out of its characters ' flaws but insists on the virtue of imperfection .

elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .

you really have to salute writer-director haneke -lrb- he adapted elfriede jelinek 's novel -rrb- for making a film that is n't nearly as graphic but much more powerful , brutally shocking and difficult to watch .