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effective in all its aspects , margarita happy hour represents an auspicious feature debut for chaiken .

goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .

it 's an unusual , thoughtful bio-drama with a rich subject and some fantastic moments and scenes .

gambling and throwing a basketball game for money is n't a new plot -- in fact toback himself used it in black and white .

a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .

fathers and sons , and the uneasy bonds between them , rarely have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .

as a director , eastwood is off his game -- there 's no real sense of suspense , and none of the plot ` surprises ' are really surprising .

it 's a loathsome movie , it really is and it makes absolutely no sense .

the only thing to fear about `` fear dot com '' is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film .

there is a real subject here , and it is handled with intelligence and care .

in -lrb- screenwriter -rrb- charlie kaufman 's world , truth and fiction are equally strange , and his for the taking .

dolman confines himself to shtick and sentimentality -- the one bald and the other sloppy .

with one exception , every blighter in this particular south london housing project digs into dysfunction like it 's a big , comforting jar of marmite , to be slathered on crackers and served as a feast of bleakness .

a grand fart coming from a director beginning to resemble someone 's crazy french grandfather .

it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but the result is more puzzling than unsettling .

a generous , inspiring film that unfolds with grace and humor and gradually becomes a testament to faith .

` you 'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied .

the film is explosive , but a few of those sticks are wet .

it may play well as a double feature with mainstream foreign mush like my big fat greek wedding

the impulses that produced this project ... are commendable , but the results are uneven .

an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character .

sayles has a knack for casting , often resurrecting performers who rarely work in movies now ... and drawing flavorful performances from bland actors .

this is a finely written , superbly acted offbeat thriller .

ferrara 's strongest and most touching movie of recent years .

unfortunately , it 's also not very good .

the most wondrous love story in years , it is a great film .

the rare movie that 's as crisp and to the point as the novel on which it 's based .

a brilliant gag at the expense of those who paid for it and those who pay to see it .

-lrb- dong -rrb- makes a valiant effort to understand everyone 's point of view , and he does such a good job of it that family fundamentals gets you riled up .

recoing 's fantastic performance does n't exactly reveal what makes vincent tick , but perhaps any definitive explanation for it would have felt like a cheat .

not everyone will play the dark , challenging tune taught by the piano teacher .

once she lets her love depraved leads meet , -lrb- denis ' -rrb- story becomes a hopeless , unsatisfying muddle

obvious , obnoxious and didactic burlesque .

the writing is clever and the cast is appealing .

... unlikable , uninteresting , unfunny , and completely , utterly inept .

some of the visual flourishes are a little too obvious , but restrained and subtle storytelling , and fine performances make this delicate coming-of-age tale a treat .

but the talented cast alone will keep you watching , as will the fight scenes .

jeffrey tambor 's performance as the intelligent jazz-playing exterminator is oscar-worthy .

somewhere in the middle , the film compels , as demme experiments he harvests a few movie moment gems , but the field of roughage dominates .

a real snooze .

partly a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .

for its 100 minutes running time , you 'll wait in vain for a movie to happen .

a guilty pleasure at best , and not worth seeing unless you want to laugh at it .

this is not one of the movies you 'd want to watch if you only had a week to live .

at once subtle and visceral , the film never succumbs to the trap of the maudlin or tearful , offering instead with its unflinching gaze a measure of faith in the future .

interminably bleak , to say nothing of boring .

filled with alexandre desplat 's haunting and sublime music , the movie completely transfixes the audience .

features one of the most affecting depictions of a love affair ever committed to film .

starts out strongly before quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar .

comedy troupe broken lizard 's first movie is very funny but too concerned with giving us a plot .

director kevin bray excels in breaking glass and marking off the `` miami vice '' checklist of power boats , latin music and dog tracks .

swims in mediocrity , sticking its head up for a breath of fresh air now and then .

some are fascinating and others are not , and in the end , it is almost a good movie .

brian tufano 's handsome widescreen photography and paul grabowsky 's excellent music turn this fairly parochial melodrama into something really rather special .

it is definitely worth seeing .

a heroic tale of persistence that is sure to win viewers ' hearts .

will probably be one of those movies barely registering a blip on the radar screen of 2002 .

both lead performances are oscar-size .

it 's super - violent , super-serious and super-stupid .

this new time machine is hardly perfect ... yet it proves surprisingly serviceable .

nair and writer laura cahill dare to build a movie around some flawed but rather unexceptional women , emerging with a fine character study that 's short on plot but rich in the tiny revelations of real life .

it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .

this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines .

the kind of sweet-and-sour insider movie that film buffs will eat up like so much gelati .

a huge disappointment coming , as it does , from filmmakers and performers of this calibre

there 's something not entirely convincing about the quiet american .

a movie of riveting power and sadness .

witless but watchable .

wraps itself in the guise of a dark and quirky comedy , but it is n't as quirky as it thinks it is and its comedy is generally mean-spirited .

it 's a feel-good movie about which you can actually feel good .

the movie is our story as much as it is schmidt 's , no matter if it 's viewed as a self-reflection or cautionary tale .

mark wahlberg ... may look classy in a '60s - homage pokepie hat , but as a character he 's dry , dry , dry .

a film that will probably please people already fascinated by behan but leave everyone else yawning with admiration .

like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .

last dance , whatever its flaws , fulfills one facet of its mission in making me want to find out whether , in this case , that 's true .

more concerned with overall feelings , broader ideas , and open-ended questions than concrete story and definitive answers , soderbergh 's solaris is a gorgeous and deceptively minimalist cinematic tone poem .

to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again ... that in itself is commentary enough .

a ragbag of cliches .

it 's a beautiful film , full of elaborate and twisted characters - and it 's also pretty funny .

the picture emerges as a surprisingly anemic disappointment .

though not for everyone , the guys is a somber trip worth taking .

the script by david koepp is perfectly serviceable and because he gives the story some soul ... he elevates the experience to a more mythic level .

see it now , before the inevitable hollywood remake flattens out all its odd , intriguing wrinkles .

nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises .

it 's horribly depressing and not very well done .

veterans of the dating wars will smirk uneasily at the film 's nightmare versions of everyday sex-in-the-city misadventures .

ryosuke has created a wry , winning , if languidly paced , meditation on the meaning and value of family .

i prefer soderbergh 's concentration on his two lovers over tarkovsky 's mostly male , mostly patriarchal debating societies .

crummy .

just another disjointed , fairly predictable psychological thriller .

this is a very funny , heartwarming film .

` rare birds ' tries to force its quirkiness upon the audience .

the tone errs on the shrill side , tempered by a soft southern gentility that speaks of beauty , grace and a closet full of skeletons .

the french director has turned out nearly 21\/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .

feardotcom 's thrills are all cheap , but they mostly work .

a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .

a small movie with a big impact .

an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .

though it inspires some -lrb- out-of-field -rrb- creative thought , the film is -- to its own detriment -- much more a cinematic collage than a polemical tract .

screenwriter chris ver weil 's directing debut is good-natured and never dull , but its virtues are small and easily overshadowed by its predictability .