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a film that presents an interesting , even sexy premise then ruins itself with too many contrivances and goofy situations .

a dopey movie clothed in excess layers of hipness .

it 's dull , spiritless , silly and monotonous : an ultra-loud blast of pointless mayhem , going nowhere fast .

the year 2002 has conjured up more coming-of-age stories than seem possible , but take care of my cat emerges as the very best of them .

but it does n't need gangs of new york .

but mr. polanski creates images even more haunting than those in mr. spielberg 's 1993 classic .

a wild ride with eight boarders from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival .

a venturesome , beautifully realized psychological mood piece that reveals its first-time feature director 's understanding of the expressive power of the camera .

it 's still adam sandler , and it 's not little nicky .

your nightmares , on the other hand , will be anything but .

my own minority report is that it stinks .

ben kingsley is truly funny , playing a kind of ghandi gone bad .

ozpetek 's effort has the scope and shape of an especially well-executed television movie .

you should pay nine bucks for this : because you can hear about suffering afghan refugees on the news and still be unaffected .

the whole mildly pleasant outing -- the r rating is for brief nudity and a grisly corpse -- remains aloft not on its own self-referential hot air , but on the inspired performance of tim allen .

a particularly joyless , and exceedingly dull , period coming-of-age tale .

with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare .

the film sometimes flags ... but there is enough secondary action to keep things moving along at a brisk , amusing pace .

often overwrought and at times positively irritating , the film turns into an engrossing thriller almost in spite of itself .

it is very difficult to care about the character , and that is the central flaw of the film .

gangster no. 1 is solid , satisfying fare for adults .

newcomer helmer kevin donovan is hamstrung by a badly handled screenplay of what is really an amusing concept -- a high-tech tux that transforms its wearer into a superman .

this is the first film i 've ever seen that had no obvious directing involved .

offers a guilt-free trip into feel-good territory .

-lrb- allen 's -rrb- been making piffle for a long while , and hollywood ending may be his way of saying that piffle is all that the airhead movie business deserves from him right now .

cacoyannis is perhaps too effective in creating an atmosphere of dust-caked stagnation and labored gentility .

o.k. , not really .

-lrb- kirshner wins , but it 's close . -rrb-

a road trip that will get you thinking , ` are we there yet ? '

the ring is worth a look , if you do n't demand much more than a few cheap thrills from your halloween entertainment .

who knew ...

the country bears has no scenes that will upset or frighten young viewers .

the 3-d vistas from orbit , with the space station suspended like a huge set of wind chimes over the great blue globe , are stanzas of breathtaking , awe-inspiring visual poetry .

... has about 3\/4th the fun of its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity .

a sha-na-na sketch punctuated with graphic violence .

a drama ?

the movie slides downhill as soon as macho action conventions assert themselves .

streamlined to a tight , brisk 85-minute screwball thriller , `` big trouble '' is funny , harmless and as substantial as a tub of popcorn with extra butter .

as it stands , there 's some fine sex onscreen , and some tense arguing , but not a whole lot more .

delightfully rendered

it is a movie about passion .

the performances are immaculate , with roussillon providing comic relief .

they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn .

especially give credit to affleck .

this picture is murder by numbers , and as easy to be bored by as your abc 's , despite a few whopping shootouts .

even a hardened voyeur would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .

it is refreshingly undogmatic about its characters .

a gratingly unfunny groaner littered with zero-dimensional , unlikable characters and hackneyed , threadbare comic setups .

a vibrant , colorful , semimusical rendition .

but as you watch the movie , you 're too interested to care .

the funny thing is , i did n't mind all this contrived nonsense a bit .

thumbs down .

adam sandler !

totally overwrought , deeply biased , and wholly designed to make you feel guilty about ignoring what the filmmakers clearly believe are the greatest musicians of all time .

there 's so much to look at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles .

either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks .

there is nothing redeeming about this movie .

touché !

macdowell ... gives give a solid , anguished performance that eclipses nearly everything else she 's ever done .

the unique niche of self-critical , behind-the-scenes navel-gazing kaufman has carved from orleans ' story and his own infinite insecurity is a work of outstanding originality .

`` ... something appears to have been lost in the translation this time .

hypnotically dull , relentlessly downbeat , laughably predictable wail pitched to the cadence of a depressed fifteen-year-old 's suicidal poetry .

it 's a smartly directed , grown-up film of ideas .

an artsploitation movie with too much exploitation and too little art .

an unflinching look at the world 's dispossessed .

the culmination of everyone 's efforts is given life when a selection appears in its final form -lrb- in `` last dance '' -rrb- .

this movie plays like an extended dialogue exercise in retard 101 .

the movie is gorgeously made , but it is also somewhat shallow and art-conscious .

it 's as if a bored cage spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet ? ''

secret ballot is a funny , puzzling movie ambiguous enough to be engaging and oddly moving .

nair just does n't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy .

one of the most slyly exquisite anti-adult movies ever made .

happily stays close to the ground in a spare and simple manner and does n't pummel us with phony imagery or music .

fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix .

whatever one makes of its political edge , this is beautiful filmmaking from one of french cinema 's master craftsmen .

jagger , stoppard and director michael apted ... deliver a riveting and surprisingly romantic ride .

banal and predictable .

ritchie may not have a novel thought in his head , but he knows how to pose madonna .

what eric schaeffer has accomplished with never again may not , strictly speaking , qualify as revolutionary .

best of all is garcia , who perfectly portrays the desperation of a very insecure man .

unfunny and lacking any sense of commitment to or affection for its characters , the reginald hudlin comedy relies on toilet humor , ethnic slurs .

`` the best disney movie since the lion king ''

merry friggin ' christmas !

best indie of the year , so far .

it jumps around with little logic or continuity , presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier .

harry potter and the chamber of secrets is deja vu all over again , and while that is a cliche , nothing could be more appropriate .

triumph of love is a very silly movie , but the silliness has a pedigree .

a sexy , peculiar and always entertaining costume drama set in renaissance spain , and the fact that it 's based on true events somehow makes it all the more compelling .

open-ended and composed of layer upon layer , talk to her is a cinephile 's feast , an invitation to countless interpretations .

the problem is that for the most part , the film is deadly dull .

for the rest of us , sitting through dahmer 's two hours amounts to little more than punishment .

has all the right elements but completely fails to gel together .

this is mild-mannered , been-there material given a pedestrian spin by a director who needed a touch of the flamboyant , the outrageous .

you have once again entered the bizarre realm where director adrian lyne holds sway , where all relationships are simultaneously broadly metaphorical , oddly abstract , and excruciatingly literal .

it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are ` edgy . '

opening with some contrived banter , cliches and some loose ends , the screenplay only comes into its own in the second half .

... stylistically , the movie is a disaster .

what makes salton sea surprisingly engrossing is that caruso takes an atypically hypnotic approach to a world that 's often handled in fast-edit , hopped-up fashion .

its strengths and weaknesses play off each other virtually to a stand-off , with the unfortunate trump card being the dreary mid-section of the film .

fresh and raw like a blown-out vein , narc takes a walking-dead , cop-flick subgenre and beats new life into it .