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khouri manages , with terrific flair , to keep the extremes of screwball farce and blood-curdling family intensity on one continuum .

as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign .

that 's its first sign of trouble .

the movie is ingenious fun .

ah , yes , that would be me : fighting off the urge to doze .

a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .

until it goes off the rails in its final 10 or 15 minutes , wendigo , larry fessenden 's spooky new thriller , is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films .

you walk out of the good girl with mixed emotions -- disapproval of justine combined with a tinge of understanding for her actions .

quitting delivers a sucker-punch , and its impact is all the greater beause director zhang 's last film , the cuddly shower , was a non-threatening multi-character piece centered around a public bath house .

hard-core slasher aficionados will find things to like ... but overall the halloween series has lost its edge .

a well-made but emotionally scattered film whose hero gives his heart only to the dog .

it 's the perfect star vehicle for grant , allowing him to finally move away from his usual bumbling , tongue-tied screen persona .

it grabs you in the dark and shakes you vigorously for its duration .

makes the same mistake as the music industry it criticizes , becoming so slick and watered-down it almost loses what made you love it in the first place .

tedious norwegian offering which somehow snagged an oscar nomination .

the plot twists give i am trying to break your heart an attraction it desperately needed .

breen 's script is sketchy with actorish notations on the margin of acting .

like an episode of mtv 's undressed , with 20 times the creativity but without any more substance ... indulgently entertaining but could have and should have been deeper .

the film can depress you about life itself .

the slam-bang superheroics are kinetic enough to engross even the most antsy youngsters .

the film was n't preachy , but it was feminism by the book .

like being invited to a classy dinner soiree and not knowing anyone .

then you get another phone call warning you that if the video is n't back at blockbuster before midnight , you 're going to face frightening late fees .

until -lrb- the -rrb- superfluous ... epilogue that leaks suspension of disbelief like a sieve , die another day is as stimulating & heart-rate-raising as any james bond thriller .

samuel beckett applied to the iranian voting process .

its cast full of caffeinated comedy performances more than make up for its logical loopholes , which fly by so fast there 's no time to think about them anyway .

the dark and bittersweet twist feels strange as things turn nasty and tragic during the final third of the film .

something for everyone .

the story is -- forgive me -- a little thin , and the filmmaking clumsy and rushed .

graphic sex may be what 's attracting audiences to unfaithful , but gripping performances by lane and gere are what will keep them awake .

feels shrill , simple and soapy .

bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made .

-lrb- screenwriter -rrb- pimental took the farrelly brothers comedy and feminized it , but it is a rather poor imitation .

it sucked .

will give many ministers and bible-study groups hours of material to discuss .

a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .

a so-so , made-for-tv something posing as a real movie .

whatever heartwarming scene the impressively discreet filmmakers may have expected to record with their mini dv , they show a remarkable ability to document both sides of this emotional car-wreck .

there is one surefire way to get a nomination for a best-foreign-film oscar : make a movie about whimsical folk who learn a nonchallenging , life-affirming lesson while walking around a foreign city with stunning architecture .

some motion pictures portray ultimate passion ; others create ultimate thrills .

skins has a desolate air , but eyre , a native american raised by white parents , manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor .

an unencouraging threefold expansion on the former mtv series , accompanying the stunt-hungry dimwits in a random series of collected gags , pranks , pratfalls , dares , injuries , etc. .

a jumbled fantasy comedy that did not figure out a coherent game plan at scripting , shooting or post-production stages .

the film brilliantly shines on all the characters , as the direction is intelligently accomplished .

this thing is virtually unwatchable .

there is a beautiful , aching sadness to it all .

this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .

s face is chillingly unemotive , yet he communicates a great deal in his performance .

handsome and sophisticated approach to the workplace romantic comedy .

schaefer 's ... determination to inject farcical raunch ... drowns out the promise of the romantic angle .

huppert 's show to steal and she makes a meal of it , channeling kathy baker 's creepy turn as the repressed mother on boston public just as much as 8 women 's augustine .

yet why it fails is a riddle wrapped in a mystery inside an enigma .

may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .

terry is a sort of geriatric dirty harry , which will please eastwood 's loyal fans -- and suits the story , wherein our hero must ride roughshod over incompetent cops to get his man .

costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .

the movie is brilliant , really .

an oddity , to be sure , but one that you might wind up remembering with a degree of affection rather than revulsion .

the picture seems uncertain whether it wants to be an acidic all-male all about eve or a lush , swooning melodrama in the intermezzo strain .

there is truth here

kids who are into this thornberry stuff will probably be in wedgie heaven .

it 's easy to love robin tunney -- she 's pretty and she can act -- but it gets harder and harder to understand her choices .

it 's just not very smart .

meandering and confusing .

there are just too many characters saying too many clever things and getting into too many pointless situations .

the film feels uncomfortably real , its language and locations bearing the unmistakable stamp of authority .

i 'm sure the filmmaker would disagree , but , honestly , i do n't see the point .

without -lrb- de niro -rrb- , city by the sea would slip under the waves .

and that holds true for both the movie and the title character played by brendan fraser .

great over-the-top moviemaking if you 're in a slap-happy mood .

mr. soderbergh 's direction and visual style struck me as unusually and unimpressively fussy and pretentious .

if we sometimes need comforting fantasies about mental illness , we also need movies like tim mccann 's revolution no. 9 .

it 's something of the ultimate scorsese film , with all the stomach-turning violence , colorful new york gang lore and other hallmarks of his personal cinema painted on their largest-ever historical canvas .

too slow for a younger crowd , too shallow for an older one .

instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence .

just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills .

williams creates a stunning , taxi driver-esque portrayal of a man teetering on the edge of sanity .

demme gets a lot of flavor and spice into his charade remake , but he ca n't disguise that he 's spiffing up leftovers that are n't so substantial or fresh .

but unless you 're an absolute raving star wars junkie , it is n't much fun .

ah , the travails of metropolitan life !

the pianist lacks the quick emotional connections of steven spielberg 's schindler 's list .

promises is one film that 's truly deserving of its oscar nomination .

this one is strictly a lightweight escapist film .

impossible as it may sound , this film 's heart is even more embracing than monty , if only because it accepts nasty behavior and severe flaws as part of the human condition .

it 's the brilliant surfing photography bringing you right inside the massive waves that lifts blue crush into one of the summer 's most pleasurable movies .

a powerful , inflammatory film about religion that dares to question an ancient faith , and about hatred that offers no easy , comfortable resolution .

fessenden has nurtured his metaphors at the expense of his narrative , but he does display an original talent .

to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed .

halfway through , however , having sucked dry the undead action flick formula , blade ii mutates into a gross-out monster movie with effects that are more silly than scary .

the otherwise good-naturedness of mr. deeds , with its embrace of sheer goofiness and cameos of less - than-likely new york celebrities ... certainly raises the film above anything sandler 's been attached to before .

it arrives with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications .

all the pieces fall together without much surprise , but little moments give it a boost .

to get at the root psychology of this film would require many sessions on the couch of dr. freud .

a remarkable film by bernard rose .

pumpkin struts about with `` courage '' pinned to its huckster lapel while a yellow streak a mile wide decorates its back .

overly long and worshipful bio-doc .

it 's the sweet cinderella story that `` pretty woman '' wanted to be .

a delicious , quirky movie with a terrific screenplay and fanciful direction by michael gondry .

it appears to have been made by people to whom the idea of narrative logic or cohesion is an entirely foreign concept .

a tone of rueful compassion ... reverberates throughout this film , whose meaning and impact is sadly heightened by current world events .

a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences .