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`` what john does is heroic , but we do n't condone it , '' one of the film 's stars recently said , a tortuous comment that perfectly illustrates the picture 's moral schizophrenia .

mindless and boring martial arts and gunplay with too little excitement and zero compelling storyline .

an ingenious and often harrowing look at damaged people and how families can offer either despair or consolation .

below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .

i think it was plato who said , ' i think , therefore i know better than to rush to the theatre for this one . '

the soul-searching deliberateness of the film , although leavened nicely with dry absurdist wit , eventually becomes too heavy for the plot .

is n't it a bit early in his career for director barry sonnenfeld to do a homage to himself ?

but something seems to be missing .

this stuck pig of a movie flails limply between bizarre comedy and pallid horror .

chouraqui brings documentary-like credibility to the horrors of the killing field and the barbarism of ` ethnic cleansing . '

it 's endlessly inventive , consistently intelligent and sickeningly savage .

red dragon makes one appreciate silence of the lambs .

yet another weepy southern bore-athon .

white has n't developed characters so much as caricatures , one-dimensional buffoons that get him a few laughs but nothing else .

world traveler might not go anywhere new , or arrive anyplace special , but it 's certainly an honest attempt to get at something .

it is life affirming and heartbreaking , sweet without the decay factor , funny and sad .

witty dialog between realistic characters showing honest emotions .

it 's mindless junk like this that makes you appreciate original romantic comedies like punch-drunk love .

a very pretty after-school special .

hawke 's film , a boring , pretentious waste of nearly two hours , does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes .

gets bogged down by an overly sillified plot and stop-and-start pacing .

the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .

using an endearing cast , writer\/director dover kosashvili takes a slightly dark look at relationships , both sexual and kindred .

some body often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .

`` sorority boys '' was funnier , and that movie was pretty bad .

toes the fine line between cheese and earnestness remarkably well ; everything is delivered with such conviction that it 's hard not to be carried away .

the movie is n't horrible , but you can see mediocre cresting on the next wave .

silly stuff , all mixed up together like a term paper from a kid who ca n't quite distinguish one sci-fi work from another .

it 's the filmmakers ' post-camp comprehension of what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion .

and , there 's no way you wo n't be talking about the film once you exit the theater .

the rules of attraction gets us too drunk on the party favors to sober us up with the transparent attempts at moralizing .

his work with actors is particularly impressive .

is `` ballistic '' worth the price of admission ?

a. . .

unfolds in a series of achronological vignettes whose cumulative effect is chilling .

after all the big build-up , the payoff for the audience , as well as the characters , is messy , murky , unsatisfying .

worthless , from its pseudo-rock-video opening to the idiocy of its last frames .

one of those films that started with a great premise and then just fell apart .

when you find yourself rooting for the monsters in a horror movie , you know the picture is in trouble .

a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day .

wishy-washy .

no one can doubt the filmmakers ' motives , but the guys still feels counterproductive .

it just goes to show , an intelligent person is n't necessarily an admirable storyteller .

the next big thing 's not-so-big -lrb- and not-so-hot -rrb- directorial debut .

reno does what he can in a thankless situation , the film ricochets from humor to violence and back again , and ryoko hirosue makes us wonder if she is always like that .

moves in such odd plot directions and descends into such message-mongering moralism that its good qualities are obscured .

for those who like quirky , slightly strange french films , this is a must !

too often , son of the bride becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if . ''

denis forges out of the theories of class - based rage and sisterly obsession a razor-sided tuning fork that rings with cultural , sexual and social discord .

the mood , look and tone of the film fit the incredible storyline to a t.

it is up to you to decide if you need to see it .

the story is so light and sugary that were it a macy 's thanksgiving day parade balloon , extra heavy-duty ropes would be needed to keep it from floating away .

a muddled limp biscuit of a movie , a vampire soap opera that does n't make much sense even on its own terms .

it 's sweet ... but just a little bit too precious at the start and a little too familiar at the end .

a certain sexiness underlines even the dullest tangents .

why `` they '' were here and what `` they '' wanted and quite honestly , i did n't care .

shallow .

a work of extraordinary journalism , but it is also a work of deft and subtle poetry .

but toback 's deranged immediacy makes it seem fresh again .

all three women deliver remarkable performances .

koury frighteningly and honestly exposes one teenager 's uncomfortable class resentment and , in turn , his self-inflicted retaliation .

off the hook is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .

there is a subversive element to this disney cartoon , providing unexpected fizzability .

in an era where big stars and high production values are standard procedure , narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve .

`` freaky friday , '' it 's not .

instead , he focuses on the anguish that can develop when one mulls leaving the familiar to traverse uncharted ground .

if there 's one big point to promises , it 's that nothing can change while physical and psychological barriers keep the sides from speaking even one word to each other .

an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades

bolstered by an astonishing voice cast -lrb- excepting love hewitt -rrb- , an interesting racial tension , and a storyline that i have n't encountered since at least pete 's dragon .

while the now 72-year-old robert evans been slowed down by a stroke , he has at least one more story to tell : his own .

this is one baaaaaaaaad movie .

maggie smith as the ya-ya member with the o2-tank will absolutely crack you up with her crass , then gasp for gas , verbal deportment .

granddad of le nouvelle vague , jean-luc godard continues to baffle the faithful with his games of hide-and-seek .

brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life .

borrows from other movies like it in the most ordinary and obvious fashion .

appropriately cynical social commentary aside , # 9 never quite ignites .

self-congratulatory , misguided , and ill-informed , if nonetheless compulsively watchable .

the story alone could force you to scratch a hole in your head .

this u-boat does n't have a captain .

there are a few chuckles , but not a single gag sequence that really scores , and the stars seem to be in two different movies .

photographed with melancholy richness and eloquently performed yet also decidedly uncinematic .

spectacular in every sense of the word , even if you don ' t know an orc from a uruk-hai .

a different and emotionally reserved type of survival story -- a film less about refracting all of world war ii through the specific conditions of one man , and more about that man lost in its midst .

you will likely prefer to keep on watching .

a film that 's flawed and brilliant in equal measure .

it 's leaden and predictable , and laughs are lacking .

if i have to choose between gorgeous animation and a lame story -lrb- like , say , treasure planet -rrb- or so-so animation and an exciting , clever story with a batch of appealing characters , i 'll take the latter every time .

the importance of being earnest movie seems to be missing a great deal of the acerbic repartee of the play . ''

it 's a lovely , eerie film that casts an odd , rapt spell .

one fantastic -lrb- and educational -rrb- documentary .

the word that comes to mind , while watching eric rohmer 's tribute to a courageous scottish lady , is painterly .

one of those staggeringly well-produced , joylessly extravagant pictures that keep whooshing you from one visual marvel to the next , hastily , emptily .

a funny and touching film that is gorgeously acted by a british cast to rival gosford park 's .

he allows his cast members to make creative contributions to the story and dialogue .

an incoherent jumble of a film that 's rarely as entertaining as it could have been .

cho continues her exploration of the outer limits of raunch with considerable brio .

instead of panoramic sweep , kapur gives us episodic choppiness , undermining the story 's emotional thrust .

i love the robust middle of this picture .

for those of us who respond more strongly to storytelling than computer-generated effects , the new star wars installment has n't escaped the rut dug by the last one .

it 's a diverting enough hour-and-a-half for the family audience .