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serviceable at best , slightly less than serviceable at worst .

both heartbreaking and heartwarming ... just a simple fable done in an artless sytle , but it 's tremendously moving .

the series ' message about making the right choice in the face of tempting alternatives remains prominent , as do the girls ' amusing personalities .

the santa clause 2 's plot may sound like it was co-written by mattel executives and lobbyists for the tinsel industry .

it 's surprisingly decent , particularly for a tenth installment in a series .

the party scenes deliver some tawdry kicks .

true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus ... ` the country bears ' should never have been brought out of hibernation .

the piano teacher is not an easy film .

degenerates into hogwash .

absurdities and clichés accumulate like lint in a fat man 's navel .

those who are not acquainted with the author 's work , on the other hand , may fall fast asleep .

sex with strangers is fascinating ...

unlike trey parker , sandler does n't understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself .

byler is too savvy a filmmaker to let this morph into a typical romantic triangle .

smug , artificial , ill-constructed and fatally overlong ... it never finds a consistent tone and lacks bite , degenerating into a pious , preachy soap opera .

green ruins every single scene he 's in , and the film , while it 's not completely wreaked , is seriously compromised by that .

a minor film with major pleasures from portuguese master manoel de oliviera ...

not everything in the film works , including its somewhat convenient ending .

stealing harvard ca n't even do that much .

leguizamo and jones are both excellent and the rest of the cast is uniformly superb .

if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish .

the story suffers a severe case of oversimplification , superficiality and silliness .

a technical triumph and an extraordinary bore .

the characters ... are paper-thin , and their personalities undergo radical changes when it suits the script .

neither quite a comedy nor a romance , more of an impish divertissement of themes that interest attal and gainsbourg -- they live together -- the film has a lot of charm .

likely to have decades of life as a classic movie franchise ?

what they see in each other also is difficult to fathom .

this is a fascinating film because there is no clear-cut hero and no all-out villain .

another trumpet blast that there may be a new mexican cinema a-bornin ' . '

it 's clear that mehta simply wanted to update her beloved genre for the thousands of indians who fancy themselves too sophisticated for the cheese-laced spectacles that pack 'em in on the subcontinent .

what might have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention takes a surprising , subtle turn at the midway point .

expands the limits of what a film can be , taking us into the lives of women to whom we might not give a second look if we passed them on the street .

does not go far enough in its humor or stock ideas to stand out as particularly memorable or even all that funny .

it 's obvious -lrb- je-gyu is -rrb- trying for poetry ; what he gets instead has all the lyricism of a limerick scrawled in a public restroom .

despite the film 's shortcomings , the stories are quietly moving .

from blushing to gushing -- imamura squirts the screen in ` warm water under a red bridge '

delight your senses and crash this wedding !

the best thing i can say about this film is that i ca n't wait to see what the director does next .

... wallace is smart to vary the pitch of his movie , balancing deafening battle scenes with quieter domestic scenes of women back home receiving war department telegrams .

the screenplay comes across , rather unintentionally , as hip-hop scooby-doo .

a true-blue delight .

about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces ... positively dreadful .

it leaves little doubt that kidman has become one of our best actors .

what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .

an enjoyable experience .

and they succeed merrily at their noble endeavor .

very much a home video , and so devoid of artifice and purpose that it appears not to have been edited at all .

no , even that 's too committed .

the entire movie is in need of a scented bath .

i spied with my little eye ... a mediocre collection of cookie-cutter action scenes and occasionally inspired dialogue bits

it shares the first two films ' loose-jointed structure , but laugh-out-loud bits are few and far between .

director david jacobson gives dahmer a consideration that the murderer never game his victims .

the hours , a delicately crafted film , is an impressive achievement in spite of a river of sadness that pours into every frame .

it 's all a rather shapeless good time ...

a direct-to-void release , heading nowhere .

are we dealing with dreams , visions or being told what actually happened as if it were the third ending of clue ?

soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable .

this movie is so bad , that it 's almost worth seeing because it 's so bad .

no better or worse than ` truth or consequences , n.m. ' or any other interchangeable actioner with imbecilic mafia toolbags botching a routine assignment in a western backwater .

well , this movie proves you wrong on both counts .

much of it is funny , but there are also some startling , surrealistic moments ...

those who are only mildly curious , i fear , will be put to sleep or bewildered by the artsy and often pointless visuals .

its engaging simplicity is driven by appealing leads .

theological matters aside , the movie is so clumsily sentimental and ineptly directed it may leave you speaking in tongues .

this 90-minute postmodern voyage was more diverting and thought-provoking than i 'd expected it to be .

ignoring that , he made swimfan anyway

but , no , we get another scene , and then another .

we never truly come to care about the main characters and whether or not they 'll wind up together , and michele 's spiritual quest is neither amusing nor dramatic enough to sustain interest .

as a hybrid teen thriller and murder mystery , murder by numbers fits the profile too closely .

like schindler 's list , the grey zone attempts to be grandiloquent , but ends up merely pretentious -- in a grisly sort of way .

a touching drama about old age and grief with a tour de force performance by michel piccoli .

video games are more involving than this mess .

if there ai n't none , you have a problem .

an obvious copy of one of the best films ever made , how could it not be ?

it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .

the plan to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller ' has flopped as surely as a soufflé gone wrong .

dog soldiers does n't transcend genre -- it embraces it , energizes it and takes big bloody chomps out of it .

wow , a jump cut !

third time 's the charm ... yeah , baby !

weighty and ponderous but every bit as filling as the treat of the title .

i found myself more appreciative of what the director was trying to do than of what he had actually done .

would you laugh if a tuba-playing dwarf rolled down a hill in a trash can ?

makes the case for a strong education and good teachers being more valuable in the way they help increase an average student 's self-esteem , and not strictly in the knowledge imparted .

a giddy and provocative sexual romp that has something to say .

what 's not to like about a movie with a ` children 's ' song that includes the line ` my stepdad 's not mean , he 's just adjusting ' ?

equilibrium the movie , as opposed to the manifesto , is really , really stupid .

suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .

eventually arrives at its heart , as simple self-reflection meditation .

in a summer overrun with movies dominated by cgi aliens and super heroes , it revigorates the mind to see a feature that concentrates on people , a project in which the script and characters hold sway .

schneider 's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story 's continuity and progression .

for most movies , 84 minutes is short , but this one feels like a life sentence .

what begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters .

explosions , jokes , and sexual innuendoes abound .

it was filled with shootings , beatings , and more cussing than you could shake a stick at .

it 's rare for any movie to be as subtle and touching as the son 's room .

not as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels , but stylish and moody and exceptionally well-acted .

spielberg 's realization of a near-future america is masterful .

amidst the action , the script carries arnold -lrb- and the viewers -rrb- into the forbidden zone of sympathizing with terrorist motivations by presenting the `` other side of the story . ''

as gory as the scenes of torture and self-mutilation may be , they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting .

maelstrom is a deliberately unsteady mixture of stylistic elements .