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it 's all a rather shapeless good time ...

a direct-to-void release , heading nowhere .

soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable .

its engaging simplicity is driven by appealing leads .

but , no , we get another scene , and then another .

we never truly come to care about the main characters and whether or not they 'll wind up together , and michele 's spiritual quest is neither amusing nor dramatic enough to sustain interest .

as a hybrid teen thriller and murder mystery , murder by numbers fits the profile too closely .

a touching drama about old age and grief with a tour de force performance by michel piccoli .

if there ai n't none , you have a problem .

it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .

the plan to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller ' has flopped as surely as a soufflé gone wrong .

wow , a jump cut !

third time 's the charm ... yeah , baby !

i found myself more appreciative of what the director was trying to do than of what he had actually done .

would you laugh if a tuba-playing dwarf rolled down a hill in a trash can ?

equilibrium the movie , as opposed to the manifesto , is really , really stupid .

suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .

in a summer overrun with movies dominated by cgi aliens and super heroes , it revigorates the mind to see a feature that concentrates on people , a project in which the script and characters hold sway .

schneider 's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story 's continuity and progression .

for most movies , 84 minutes is short , but this one feels like a life sentence .

explosions , jokes , and sexual innuendoes abound .

it was filled with shootings , beatings , and more cussing than you could shake a stick at .

spielberg 's realization of a near-future america is masterful .

as gory as the scenes of torture and self-mutilation may be , they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting .

maelstrom is a deliberately unsteady mixture of stylistic elements .

jones has delivered a solidly entertaining and moving family drama .

unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes take place indoors in formal settings with motionless characters .

a movie in which two not very absorbing characters are engaged in a romance you ca n't wait to see end .

a cultural wildcard experience : wacky , different , unusual , even nutty .

the worst film of the year .

a funny , triumphant , and moving documentary .

it 's a barely tolerable slog over well-trod ground .

manipulative claptrap , a period-piece movie-of-the-week , plain old blarney ... take your pick .

it 's crap on a leash -- far too polite to scale the lunatic heights of joe dante 's similarly styled gremlins .

the climactic events are so well realized that you may forget all about the original conflict , just like the movie does

it 's an exhilarating place to visit , this laboratory of laughter .

as crimes go , writer-director michael kalesniko 's how to kill your neighbor 's dog is slight but unendurable .

enriched by a strong and unforced supporting cast .

without any redeeming value whatsoever .

an intoxicating experience .

this engrossing , characteristically complex tom clancy thriller is shifty in the manner in which it addresses current terrorism anxieties and sidesteps them at the same time .

it 's exactly what you 'd expect .

what results is the best performance from either in years .

a feature-length , r-rated , road-trip version of mama 's family .

has its charming quirks and its dull spots .

an already thin story boils down to surviving invaders seeking an existent anti-virus .

a period story about a catholic boy who tries to help a jewish friend get into heaven by sending the audience straight to hell .

a film that should be relegated to a dark video store corner is somehow making its way instead to theaters .

the film did n't move me one way or the other , but it was an honest effort and if you want to see a flick about telemarketers this one will due .

wait for it to hit cable .

he gets his secretary to fax it . ''

a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films -- four weddings and a funeral and bridget jones 's diary .

jam-packed with literally bruising jokes .

it 's actually pretty funny , but in all the wrong places .

the narrative is so consistently unimaginative that probably the only way to have saved the film is with the aid of those wisecracking mystery science theater 3000 guys .

film ca n't quite maintain its initial momentum , but remains sporadically funny throughout .

it appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up .

reign of fire has the disadvantage of also looking cheap .

to call this one an eventual cult classic would be an understatement , and woe is the horror fan who opts to overlook this goofily endearing and well-lensed gorefest .

a distinguished and thoughtful film , marked by acute writing and a host of splendid performances .

a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome .

a fresh-faced , big-hearted and frequently funny thrill ride for the kiddies , with enough eye candy and cheeky wit to keep parents away from the concession stand . '

priggish , lethargically paced parable of renewal .

disgusting .

but believe it or not , it 's one of the most beautiful , evocative works i 've seen .

the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .

a little objectivity could have gone a long way .

... really horrible drek .

a must for fans of british cinema , if only because so many titans of the industry are along for the ride .

but it 's hard to imagine a more generic effort in the genre .

perfectly pitched between comedy and tragedy , hope and despair , about schmidt instead comes far closer than many movies to expressing the way many of us live -- someplace between consuming self-absorption and insistently demanding otherness .

rarely does a film so graceless and devoid of merit as this one come along .

this comic gem is as delightful as it is derivative .

dull , a road-trip movie that 's surprisingly short of both adventure and song .

as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign .

the movie is ingenious fun .

ah , yes , that would be me : fighting off the urge to doze .

quitting delivers a sucker-punch , and its impact is all the greater beause director zhang 's last film , the cuddly shower , was a non-threatening multi-character piece centered around a public bath house .

a well-made but emotionally scattered film whose hero gives his heart only to the dog .

like an episode of mtv 's undressed , with 20 times the creativity but without any more substance ... indulgently entertaining but could have and should have been deeper .

the slam-bang superheroics are kinetic enough to engross even the most antsy youngsters .

the film was n't preachy , but it was feminism by the book .

like being invited to a classy dinner soiree and not knowing anyone .

until -lrb- the -rrb- superfluous ... epilogue that leaks suspension of disbelief like a sieve , die another day is as stimulating & heart-rate-raising as any james bond thriller .

samuel beckett applied to the iranian voting process .

the dark and bittersweet twist feels strange as things turn nasty and tragic during the final third of the film .

graphic sex may be what 's attracting audiences to unfaithful , but gripping performances by lane and gere are what will keep them awake .

bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made .

-lrb- screenwriter -rrb- pimental took the farrelly brothers comedy and feminized it , but it is a rather poor imitation .

it sucked .

a so-so , made-for-tv something posing as a real movie .

whatever heartwarming scene the impressively discreet filmmakers may have expected to record with their mini dv , they show a remarkable ability to document both sides of this emotional car-wreck .

there is one surefire way to get a nomination for a best-foreign-film oscar : make a movie about whimsical folk who learn a nonchallenging , life-affirming lesson while walking around a foreign city with stunning architecture .

some motion pictures portray ultimate passion ; others create ultimate thrills .

the film brilliantly shines on all the characters , as the direction is intelligently accomplished .

this thing is virtually unwatchable .

s face is chillingly unemotive , yet he communicates a great deal in his performance .

may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .

the movie is brilliant , really .

and that holds true for both the movie and the title character played by brendan fraser .