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each scene wreaks of routine ; the film never manages to generate a single threat of suspense .

certain to be distasteful to children and adults alike , eight crazy nights is a total misfire .

i have n't laughed that hard in years !

sorvino is delightful in the central role .

a gracious , eloquent film that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past forever lost .

possibly not since grumpy old men have i heard a film so solidly connect with one demographic while striking out with another .

what a great way to spend 4 units of your day .

a passionately inquisitive film determined to uncover the truth and hopefully inspire action .

both a successful adaptation and an enjoyable film in its own right .

and vin diesel is the man .

just a kiss is a just a waste .

meyjes focuses too much on max when he should be filling the screen with this tortured , dull artist and monster-in-the - making .

hilarious musical comedy though stymied by accents thick as mud .

murder by numbers just does n't add up .

all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .

this is popcorn movie fun with equal doses of action , cheese , ham and cheek -lrb- as well as a serious debt to the road warrior -rrb- , but it feels like unrealized potential

-lrb- it -rrb- highlights not so much the crime lord 's messianic bent , but spacey 's .

in death to smoochy , we do n't get williams ' usual tear and a smile , just sneers and bile , and the spectacle is nothing short of refreshing .

tsai has managed to create an underplayed melodrama about family dynamics and dysfunction that harks back to the spare , unchecked heartache of yasujiro ozu .

an uneven mix of dark satire and childhood awakening .

the movie is about as humorous as watching your favorite pet get buried alive .

bears is even worse than i imagined a movie ever could be .

dramatically lackluster .

made eddie murphy a movie star and the man has n't aged a day .

this is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the american underground .

yes , mibii is rote work and predictable , but with a philosophical visual coming right at the end that extravagantly redeems it .

their contrast is neither dramatic nor comic -- it 's just a weird fizzle .

all the characters are clinically depressed and have abandoned their slim hopes and dreams .

tartakovsky 's team has some freakish powers of visual charm , but the five writers slip into the modern rut of narrative banality .

a gently funny , sweetly adventurous film that makes you feel genuinely good , that is to say , entirely unconned by false sentiment or sharp , overmanipulative hollywood practices .

tries too hard to be funny in a way that 's too loud , too goofy and too short of an attention span .

the obnoxious title character provides the drama that gives added clout to this doc .

the sweetest thing , a romantic comedy with outrageous tendencies , may be a mess in a lot of ways .

you emerge dazed , confused as to whether you 've seen pornography or documentary .

lucy 's a dull girl , that 's all .

sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments .

directed without the expected flair or imagination by hong kong master john woo , windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length .

it looks closely , insightfully at fragile , complex relationships .

the story has some nice twists but the ending and some of the back-story is a little tired .

is an inexpressible and drab wannabe looking for that exact niche .

the mothman prophecies , which is mostly a bore , seems to exist only for its climactic setpiece .

spirit is a visual treat , and it takes chances that are bold by studio standards , but it lacks a strong narrative .

this is one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt .

for almost the first two-thirds of martin scorsese 's 168-minute gangs of new york , i was entranced .

... a cheap , ludicrous attempt at serious horror .

an unremittingly ugly movie to look at , listen to , and think about , it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .

enticing and often funny documentary .

but one thing 's for sure : it never comes close to being either funny or scary .

the movie eventually snaps under the strain of its plot contrivances and its need to reassure .

whereas oliver stone 's conspiracy thriller jfk was long , intricate , star-studded and visually flashy , interview with the assassin draws its considerable power from simplicity .

the komediant is a tale worth catching .

the holes in this film remain agape -- holes punched through by an inconsistent , meandering , and sometimes dry plot .

worth seeing just for weaver and lapaglia .

a brain twister , less a movie-movie than a funny and weird meditation on hollywood , success , artistic integrity and intellectual bankruptcy .

let 's hope not .

it follows the blair witch formula for an hour , in which we 're told something creepy and vague is in the works , and then it goes awry in the final 30 minutes .

an encouraging effort from mccrudden

i was amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .

such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls '' and last year 's `` rollerball . ''

initially gripping , eventually cloying pow drama .

this is not a jackie chan movie .

chamber of secrets will find millions of eager fans .

you can see the would-be surprises coming a mile away , and the execution of these twists is delivered with a hammer .

lacks the visual flair and bouncing bravado that characterizes better hip-hop clips and is content to recycle images and characters that were already tired 10 years ago .

a timid , soggy near miss .

a solidly constructed , entertaining thriller that stops short of true inspiration .

a quiet family drama with a little bit of romance and a dose of darkness .

smith examines the intimate , unguarded moments of folks who live in unusual homes -- which pop up in nearly every corner of the country .

i admire it and yet can not recommend it , because it overstays its natural running time .

thoroughly engrossing and ultimately tragic .

i can analyze this movie in three words : thumbs friggin ' down .

if only it were , well , funnier .

it is messy , uncouth , incomprehensible , vicious and absurd .

from its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale , martin is a masterfully conducted work .

charly comes off as emotionally manipulative and sadly imitative of innumerable past love story derisions .

kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party .

its premise is smart , but the execution is pretty weary .

an engrossing iranian film about two itinerant teachers and some lost and desolate people they encounter in a place where war has savaged the lives and liberties of the poor and the dispossessed .

for those for whom the name woody allen was once a guarantee of something fresh , sometimes funny , and usually genuinely worthwhile , hollywood ending is a depressing experience

somewhere inside the mess that is world traveler , there is a mediocre movie trying to get out .

first and foremost ... the reason to go see `` blue crush '' is the phenomenal , water-born cinematography by david hennings .

connoisseurs of chinese film will be pleased to discover that tian 's meticulous talent has not withered during his enforced hiatus .

gaunt , silver-haired and leonine , -lrb- harris -rrb- brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman .

left me with the visceral sensation of longing , lasting traces of charlotte 's web of desire and desperation .

the problem with the bread , my sweet is that it 's far too sentimental .

it may even fall into the category of films you love to hate .

combines a comically dismal social realism with a farcically bawdy fantasy of redemption and regeneration .

like a less dizzily gorgeous companion to mr. wong 's in the mood for love -- very much a hong kong movie despite its mainland setting .

loud , chaotic and largely unfunny .

the main characters are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort .

a movie to forget

the film 's best trick is the way that it treats conspiracy as a kind of political blair witch , a monstrous murk that haunts us precisely because it can never be seen .

rife with nutty cliches and far too much dialogue .

labute ca n't avoid a fatal mistake in the modern era : he 's changed the male academic from a lower-class brit to an american , a choice that upsets the novel 's exquisite balance and shreds the fabric of the film .

starts out with tremendous promise , introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter .

a raunchy and frequently hilarious follow-up to the gifted korean american stand-up 's i 'm the one that i want .

a completely spooky piece of business that gets under your skin and , some plot blips aside , stays there for the duration .

an artful yet depressing film that makes a melodramatic mountain out of the molehill of a missing bike .

the movie ends with outtakes in which most of the characters forget their lines and just utter ` uhhh , ' which is better than most of the writing in the movie .

every five minutes or so , someone gets clocked .