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children of the century , though well dressed and well made , ultimately falls prey to the contradiction that afflicts so many movies about writers .

there is so much plodding sensitivity .

intriguing and downright intoxicating .

a sharp satire of desperation and cinematic deception .

i still like moonlight mile , better judgment be damned .

a showcase for both the scenic splendor of the mountains and for legendary actor michel serrault , the film is less successful on other levels .

so brisk is wang 's pacing that none of the excellent cast are given air to breathe .

with an expressive face reminiscent of gong li and a vivid personality like zhang ziyi 's , dong stakes out the emotional heart of happy .

steve oedekerk is , alas , no woody allen .

george lucas returns as a visionary with a tale full of nuance and character dimension .

putting the primitive murderer inside a high-tech space station unleashes a pandora 's box of special effects that run the gamut from cheesy to cheesier to cheesiest .

with the cheesiest monsters this side of a horror spoof , which they is n't , it is more likely to induce sleep than fright .

though tom shadyac 's film kicks off spookily enough , around the halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .

`` auto focus '' works as an unusual biopic and document of male swingers in the playboy era

with jump cuts , fast editing and lots of pyrotechnics , yu clearly hopes to camouflage how bad his movie is .

one of the most depressing movie-going experiences i can think of is to sit through about 90 minutes of a so-called ` comedy ' and not laugh once .

except it 's much , much better .

good fun , good action , good acting , good dialogue , good pace , good cinematography .

they exist for hushed lines like `` they 're back ! ''

it 's a sharp movie about otherwise dull subjects .

is that it 's a crime movie made by someone who obviously knows nothing about crime .

jason patric and ray liotta make for one splendidly cast pair .

there 's no clear picture of who killed bob crane .

if you adored the full monty so resoundingly that you 're dying to see the same old thing in a tired old setting , then this should keep you reasonably entertained .

its compelling mix of trial movie , escape movie and unexpected fable ensures the film never feels draggy .

not a bad premise , but the execution is lackluster at best .

insightfully written , delicately performed

shyamalan should stop trying to please his mom .

kung pow is oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that .

wimps out by going for that pg-13 rating , so the more graphic violence is mostly off-screen and the sexuality is muted .

in my opinion , analyze that is not as funny or entertaining as analyze this , but it is a respectable sequel .

the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep .

the movie 's thesis -- elegant technology for the masses -- is surprisingly refreshing .

it 's no lie -- big fat liar is a real charmer .

a gorgeously strange movie , heaven is deeply concerned with morality , but it refuses to spell things out for viewers .

you 'll cry for your money back .

the package in which this fascinating -- and timely -- content comes wrapped is disappointingly generic .

a subtle , humorous , illuminating study of politics , power and social mobility .

i loved the look of this film .

this little film is so slovenly done , so primitive in technique , that it ca n't really be called animation .

another boorish movie from the i-heard-a-joke - at-a-frat-party school of screenwriting .

it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression .

a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .

the code talkers deserved better than a hollow tribute .

for proof of that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls , retrospectively , his most personal work yet .

clayburgh and tambor are charming performers ; neither of them deserves eric schaeffer .

the pitch must have read like a discarded house beautiful spread .

a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time .

life on the rez is no picnic : this picture shows you why .

what you expect is just what you get ... assuming the bar of expectations has n't been raised above sixth-grade height .

the campy results make mel brooks ' borscht belt schtick look sophisticated .

an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .

two badly interlocked stories drowned by all too clever complexity .

when the violence actually shocked ?

aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .

an ambitious , serious film that manages to do virtually everything wrong ; sitting through it is something akin to an act of cinematic penance .

while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast ... have made the old boy 's characters more quick-witted than any english lit major would have thought possible .

the aaa of action , xxx is a blast of adrenalin , rated eee for excitement .

it 's all surface psychodramatics .

less-than-compelling documentary of a yiddish theater clan .

comedian , like its subjects , delivers the goods and audiences will have a fun , no-frills ride .

it was only a matter of time before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo .

it 's a documentary that says that the alternate sexuality meant to set you free may require so much relationship maintenance that celibacy can start looking good .

it 's virtually impossible to like any of these despicable characters .

it 's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth .

scott delivers a terrific performance in this fascinating portrait of a modern lothario .

replacing john carpenter 's stylish tracking shots is degraded , handheld blair witch video-cam footage .

the film delivers what it promises : a look at the `` wild ride '' that ensues when brash young men set out to conquer the online world with laptops , cell phones and sketchy business plans .

it thankfully goes easy on the reel\/real world dichotomy that -lrb- jaglom -rrb- pursued with such enervating determination in venice\/venice .

a fake street drama that keeps telling you things instead of showing them .

like showgirls and glitter , the most entertaining moments here are unintentional .

possession is in the end an honorable , interesting failure .

the story is predictable , the jokes are typical sandler fare , and the romance with ryder is puzzling .

mark pellington 's latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth .

no amount of burning , blasting , stabbing , and shooting can hide a weak script .

has the marks of a septuagenarian ; it 's a crusty treatment of a clever gimmick .

hollywood 's answer to an air ball .

prepare to marvel again .

family togetherness takes a back seat to inter-family rivalry and workplace ambition ... whole subplots have no explanation or even plot relevance .

stiff and schmaltzy and clumsily directed .

troubling and powerful .

the film virtually chokes on its own self-consciousness .

cassavetes thinks he 's making dog day afternoon with a cause , but all he 's done is to reduce everything he touches to a shrill , didactic cartoon .

` dragonfly ' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .

the characters are interesting and the relationship between yosuke and saeko is worth watching as it develops , but there 's not enough to the story to fill two hours .

a genuinely moving and wisely unsentimental drama .

the farcical elements seemed too pat and familiar to hold my interest , yet its diverting grim message is a good one .

parents , on the other hand , will be ahead of the plot at all times , and there is n't enough clever innuendo to fil

amy and matthew have a bit of a phony relationship , but the film works in spite of it .

maybe it is formula filmmaking , but there 's nothing wrong with that if the film is well-crafted and this one is .

nohe 's documentary about the event is sympathetic without being gullible : he is n't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction .

rock 's stand-up magic wanes .

a delightful , if minor , pastry of a movie .

a sexy , surprising romance ... idemoto and kim make a gorgeous pair ... their scenes brim with sexual possibility and emotional danger .

barely .

there are n't too many films that can be as simultaneously funny , offbeat and heartwarming -lrb- without a thick shmear of the goo , at least -rrb- , but `` elling '' manages to do all three quite well , making it one of the year 's most enjoyable releases .

plays like some corny television production from a bygone era

as a girl-meets-girl romantic comedy , kissing jessica steinis quirky , charming and often hilarious .

it 's like a drive-by .

most of the film feels conceived and shot on the fly -- like between lunch breaks for shearer 's radio show and his simpson voice-overs .