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filled with honest performances and exceptional detail , baran is a gentle film with dramatic punch , a haunting ode to humanity .

the secrets of time travel will have been discovered , indulged in and rejected as boring before i see this piece of crap again .

due to stodgy , soap opera-ish dialogue , the rest of the cast comes across as stick figures reading lines from a teleprompter .

shamelessly resorting to pee-related sight gags that might even cause tom green a grimace ; still , myer 's energy and the silliness of it all eventually prevail

noyce has worked wonders with the material .

despite the predictable parent vs. child coming-of-age theme , first-class , natural acting and a look at `` the real americans '' make this a charmer .

delia , greta , and paula rank as three of the most multilayered and sympathetic female characters of the year .

best described as i know what you did last winter .

another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt pictures .

the tonal shifts are jolting , and though wen 's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive .

dense and enigmatic ... elusive ... stagy and stilted

overall , it 's a very entertaining , thought-provoking film with a simple message : god is love .

`` on guard ! ''

a minor work yet there 's no denying the potency of miller 's strange , fleeting brew of hopeful perseverance and hopeless closure .

a confident , richly acted , emotionally devastating piece of work and 2002 's first great film

labute 's careful handling makes the material seem genuine rather than pandering .

the whole film has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .

routine and rather silly .

denver should not get the first and last look at one of the most triumphant performances of vanessa redgrave 's career .

the best thing that can be said of the picture is that it does have a few cute moments .

a different kind of love story - one that is dark , disturbing , painful to watch , yet compelling .

not only does the thoroughly formulaic film represent totally exemplify middle-of-the-road mainstream , it also represents glossy hollywood at its laziest .

a delicious and delicately funny look at the residents of a copenhagen neighborhood coping with the befuddling complications life tosses at them .

if ever a concept came handed down from the movie gods on a silver platter , this is it .

far away .

the kind of trifle that date nights were invented for . .

all the actors are good in pauline & paulette but van der groen , described as ` belgium 's national treasure , ' is especially terrific as pauline .

vulgar is too optimistic a title .

`` the adventures of pluto nash '' is a big time stinker .

visually captivating .

she 's a cipher , played by an actress who smiles and frowns but does n't reveal an inner life .

for the future , one hopes mr. plympton will find room for one more member of his little band , a professional screenwriter .

mr. deeds is sure to give you a lot of laughs in this simple , sweet and romantic comedy .

its gentle , touching story creeps into your heart .

armed with a game supporting cast , from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud .

gloriously straight from the vagina .

a small gem from belgium .

courtney chases stuart with a cell phone .

the characters are complex and quirky , but entirely believable as the remarkable ensemble cast brings them to life .

it is a testament of quiet endurance , of common concern , of reconciled survival .

simply and eloquently articulates the tangled feelings of particular new yorkers deeply touched by an unprecedented tragedy .

plays like a checklist of everything rob reiner and his cast were sending up .

... could easily be called the best korean film of 2002 .

the title , alone , should scare any sane person away .

the plot is paper-thin and the characters are n't interesting enough to watch them go about their daily activities for two whole hours .

this english-language version ... does full honor to miyazaki 's teeming and often unsettling landscape , and to the conflicted complexity of his characters .

whether quitting will prove absorbing to american audiences is debatable .

the film is a hoot , and is just as good , if not better than much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand .

the movie barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .

if you can get past the taboo subject matter , it will be well worth your time .

simply does n't have sufficient heft to justify its two-hour running time .

parker should be commended for taking a fresh approach to familiar material , but his determination to remain true to the original text leads him to adopt a somewhat mannered tone ... that ultimately dulls the human tragedy at the story 's core .

the performers are so spot on , it is hard to conceive anyone else in their roles .

boring and meandering .

an energizing , intoxicating documentary charting the rise of hip-hop culture in general and the art of scratching -lrb- or turntablism -rrb- in particular .

but if you 've paid a matinee price and bought a big tub of popcorn , there 's guilty fun to be had here .

-lrb- ramsay -rrb- visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art , music and metaphor .

works as pretty contagious fun .

a dark , dull thriller with a parting shot that misfires .

the sheer dumbness of the plot -lrb- other than its one good idea -rrb- and the movie 's inescapable air of sleaziness get you down .

provides a very moving and revelatory footnote to the holocaust .

raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings .

it is dark , brooding and slow , and takes its central idea way too seriously .

it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you .

it is , however , a completely honest , open-hearted film that should appeal to anyone willing to succumb to it .

features nonsensical and laughable plotting , wooden performances , ineptly directed action sequences and some of the worst dialogue in recent memory .

it 's better than mid-range steven seagal , but not as sharp as jet li on rollerblades .

or for the year , for that matter .

an invaluable historical document thanks to the filmmaker 's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent .

... no charm , no laughs , no fun , no reason to watch .

thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .

what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks -lrb- at least during their '70s heyday -rrb- comes across as lame and sophomoric in this debut indie feature .

paul bettany playing malcolm mcdowell ?

that 's not vintage spielberg and that , finally , is minimally satisfying .

it would take a complete moron to foul up a screen adaptation of oscar wilde 's classic satire .

jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set .

another in a long line of ultra-violent war movies , this one is not quite what it could have been as a film , but the story and theme make up for it .

the music makes a nice album , the food is enticing and italy beckons us all .

one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers .

` hey arnold ! '

beautifully shot against the frozen winter landscapes of grenoble and geneva , the film unfolds with all the mounting tension of an expert thriller , until the tragedy beneath it all gradually reveals itself .

griffin & co. manage to be spectacularly outrageous .

given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube .

an entertaining british hybrid of comedy , caper thrills and quirky romance .

the modern master of the chase sequence returns with a chase to end all chases

dense and thoughtful and brimming with ideas that are too complex to be rapidly absorbed .

a loud , witless mess that has none of the charm and little of the intrigue from the tv series .

if a few good men told us that we `` ca n't handle the truth '' than high crimes poetically states at one point in this movie that we `` do n't care about the truth . ''

a crass and insulting homage to great films like some like it hot and the john wayne classics .

it 's lazy for a movie to avoid solving one problem by trying to distract us with the solution to another .

a sterling film - a cross between boys do n't cry , deliverance , and ode to billy joe - lies somewhere in the story of matthew shepard , but that film is yet to be made .

the film thrusts the inchoate but already eldritch christian right propaganda machine into national media circles .

spend your benjamins on a matinee .

the fun of the movie is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad .

far too clever by half , howard 's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .

serious and thoughtful .

a remarkably insightful look at the backstage angst of the stand-up comic .

this is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience .

... manages to fall closer in quality to silence than to the abysmal hannibal .

sexy and romantic .