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one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace .

forget about one oscar nomination for julianne moore this year - she should get all five .

i like it .

philosophically , intellectually and logistically a mess .

while the humor is recognizably plympton , he has actually bothered to construct a real story this time .

highly irritating at first , mr. koury 's passive technique eventually begins to yield some interesting results .

although some viewers will not be able to stomach so much tongue-in-cheek weirdness , those who do will have found a cult favorite to enjoy for a lifetime .

a well-crafted letdown .

duvall is strong as always .

toward the end sum of all fears morphs into a mundane '70s disaster flick .

terrific performances , great to look at , and funny .

very well-written and very well-acted .

nachtwey clears the cynicism right out of you .

there 's a little violence and lots of sex in a bid to hold our attention , but it grows monotonous after a while , as do joan and philip 's repetitive arguments , schemes and treachery .

-- was a fad that had long since vanished .

girlfriends are bad , wives are worse and babies are the kiss of death in this bitter italian comedy .

adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .

muddled , simplistic and more than a little pretentious .

morrissette has performed a difficult task indeed - he 's taken one of the world 's most fascinating stories and made it dull , lifeless , and irritating .

carrying this wafer-thin movie on his nimble shoulders , chan wades through putrid writing , direction and timing with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master . '

nothing short of a masterpiece -- and a challenging one .

this latest installment of the horror film franchise that is apparently as invulnerable as its trademark villain has arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone .

it remains to be seen whether statham can move beyond the crime-land action genre , but then again , who says he has to ?

while holm is terrific as both men and hjejle quite appealing , the film fails to make the most out of the intriguing premise .

and that makes all the difference .

robert harmon 's less-is-more approach delivers real bump-in - the-night chills -- his greatest triumph is keeping the creepy crawlies hidden in the film 's thick shadows .

... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920 's ... the film 's ending has a `` what was it all for ? ''

it 's good to see michael caine whipping out the dirty words and punching people in the stomach again .

slack and uninspired , and peopled mainly by characters so unsympathetic that you 're left with a sour taste in your mouth .

forgettable , if good-hearted , movie .

a riveting story well told .

for every articulate player , such as skateboarder tony hawk or bmx rider mat hoffman , are about a half dozen young turks angling to see how many times they can work the words `` radical '' or `` suck '' into a sentence .

worse than ` silence of the lambs ' better than ` hannibal '

a culture clash comedy only half as clever as it thinks it is .

this version moves beyond the original 's nostalgia for the communal film experiences of yesteryear to a deeper realization of cinema 's inability to stand in for true , lived experience .

this is a third-person story now , told by hollywood , and much more ordinary for it .

at 90 minutes this movie is short , but it feels much longer .

mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device he has put in service .

at no point during k-19 : the widowmaker did this viewer feel enveloped in a story that , though meant to be universal in its themes of loyalty , courage and dedication to a common goal , never seems to leave the lot .

the big-screen scooby makes the silly original cartoon seem smart and well-crafted in comparison .

the fact is that the screen is most alive when it seems most likely that broomfield 's interviewees , or even himself , will not be for much longer .

the script ?

nicole holofcener 's lovely and amazing , from her own screenplay , jumps to the head of the class of women 's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style .

likeable thanks to its cast , its cuisine and its quirky tunes .

borrows a bit from the classics `` wait until dark '' and `` extremities '' ... but in terms of its style , the movie is in a class by itself .

a pleasant piece of escapist entertainment .

sweet and memorable film .

this is a movie you can trust .

whole stretches of the film may be incomprehensible to moviegoers not already clad in basic black .

impresses as a skillfully assembled , highly polished and professional adaptation ... just about as chilling and unsettling as ` manhunter ' was .

these guys seem great to knock back a beer with but they 're simply not funny performers .

there are a couple of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall .

it is also a testament to the integrity and vision of the band .

daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails .

many a parent and their teen -lrb- or preteen -rrb- kid could bond while watching a walk to remember .

the trials of henry kissinger is a remarkable piece of filmmaking ... because you get it .

though the film is static , its writer-director 's heart is in the right place , his plea for democracy and civic action laudable .

grown-up quibbles are beside the point here .

evelyn 's strong cast and surehanded direction make for a winning , heartwarming yarn .

... bibbidy-bobbidi-bland .

one thing 's for sure -- if george romero had directed this movie , it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head .

and he allows a gawky actor like spall -- who could too easily become comic relief in any other film -- to reveal his impressively delicate range .

epps has neither the charisma nor the natural affability that has made tucker a star .

it 's rare to find a film to which the adjective ` gentle ' applies , but the word perfectly describes pauline & paulette .

` blue crush ' swims away with the sleeper movie of the summer award .

needed a little less bling-bling and a lot more romance .

it lets you brush up against the humanity of a psycho , without making him any less psycho .

but the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .

so fiendishly cunning that even the most jaded cinema audiences will leave the auditorium feeling dizzy , confused , and totally disorientated .

the real question this movie poses is not ` who ? '

despite an overwrought ending , the film works as well as it does because of the performances .

a film of ideas and wry comic mayhem .

in the end , though , it is only mildly amusing when it could have been so much more .

effective in all its aspects , margarita happy hour represents an auspicious feature debut for chaiken .

goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .

it 's an unusual , thoughtful bio-drama with a rich subject and some fantastic moments and scenes .

quietly engaging .

what could have been a daytime soap opera is actually a compelling look at a young woman 's tragic odyssey .

gambling and throwing a basketball game for money is n't a new plot -- in fact toback himself used it in black and white .

not completely loveable -- but what underdog movie since the bad news bears has been ?

a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .

what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points .

the dirty jokes provide the funniest moments in this oddly sweet comedy about jokester highway patrolmen .

has none of the crackle of `` fatal attraction '' , `` 9 1\/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita '' .

a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china .

fathers and sons , and the uneasy bonds between them , rarely have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .

as a director , eastwood is off his game -- there 's no real sense of suspense , and none of the plot ` surprises ' are really surprising .

there 's much tongue in cheek in the film and there 's no doubt the filmmaker is having fun with it all .

... `` bowling for columbine '' remains a disquieting and thought-provoking film ...

it 's a loathsome movie , it really is and it makes absolutely no sense .

phoned-in business as usual .

the only thing to fear about `` fear dot com '' is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film .

blade ii merges bits and pieces from fighting games , wire fu , horror movies , mystery , james bond , wrestling , sci-fi and anime into one big bloody stew .

to the vast majority of more casual filmgoers , it will probably be a talky bore .

there is a real subject here , and it is handled with intelligence and care .

in -lrb- screenwriter -rrb- charlie kaufman 's world , truth and fiction are equally strange , and his for the taking .

bigelow offers some flashy twists and turns that occasionally fortify this turgid fable .

dolman confines himself to shtick and sentimentality -- the one bald and the other sloppy .

the film has the uncanny ability to right itself precisely when you think it 's in danger of going wrong .

with one exception , every blighter in this particular south london housing project digs into dysfunction like it 's a big , comforting jar of marmite , to be slathered on crackers and served as a feast of bleakness .