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some are fascinating and others are not , and in the end , it is almost a good movie .

everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .

brian tufano 's handsome widescreen photography and paul grabowsky 's excellent music turn this fairly parochial melodrama into something really rather special .

it is definitely worth seeing .

a heroic tale of persistence that is sure to win viewers ' hearts .

will probably be one of those movies barely registering a blip on the radar screen of 2002 .

a bilingual charmer , just like the woman who inspired it

allen 's underestimated charm delivers more goodies than lumps of coal .

everybody loves a david and goliath story , and this one is told almost entirely from david 's point of view .

both lead performances are oscar-size .

as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner .

it 's super - violent , super-serious and super-stupid .

all the small moments and flashbacks do n't add up to much more than trite observations on the human condition .

elaborate special effects take centre screen , so that the human story is pushed to one side .

this new time machine is hardly perfect ... yet it proves surprisingly serviceable .

the film is ... determined to treat its characters , weak and strong , as fallible human beings , not caricatures , and to carefully delineate the cost of the inevitable conflicts between human urges and an institution concerned with self-preservation .

i found the movie as divided against itself as the dysfunctional family it portrays .

too daft by half ... but supremely good natured .

though frida is easier to swallow than julie taymor 's preposterous titus , the eye candy here lacks considerable brio .

the film is hard to dismiss -- moody , thoughtful , and lit by flashes of mordant humor .

the first five minutes will have you talking 'til the end of the year !

... silly humbuggery ...

nair and writer laura cahill dare to build a movie around some flawed but rather unexceptional women , emerging with a fine character study that 's short on plot but rich in the tiny revelations of real life .

predecessors the mummy and the mummy returns stand as intellectual masterpieces next to the scorpion king .

worth a look by those on both sides of the issues , if only for the perspective it offers , one the public rarely sees .

it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .

... too sappy for its own good .

this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines .

no , i do n't know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money .

if s&m seems like a strange route to true love , maybe it is , but it 's to this film 's -lrb- and its makers ' -rrb- credit that we believe that that 's exactly what these two people need to find each other -- and themselves .

little is done to support the premise other than fling gags at it to see which ones shtick .

one of those decades-spanning historical epics that strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time .

the kind of sweet-and-sour insider movie that film buffs will eat up like so much gelati .

a huge disappointment coming , as it does , from filmmakers and performers of this calibre

for a film that 's being advertised as a comedy , sweet home alabama is n't as funny as you 'd hoped .

there 's something not entirely convincing about the quiet american .

richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .

a movie of riveting power and sadness .

robert john burke as the monster horns in and steals the show .

the new insomnia is a surprisingly faithful remake of its chilly predecessor , and when it does elect to head off in its own direction , it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities .

witless but watchable .

just offbeat enough to keep you interested without coming close to bowling you over .

written , flatly , by david kendall and directed , barely , by there 's something about mary co-writer ed decter .

it 's a film with an idea buried somewhere inside its fabric , but never clearly seen or felt .

one can only assume that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off

seeks to transcend its genre with a curiously stylized , quasi-shakespearean portrait of pure misogynist evil .

not a stereotype is omitted nor a cliché left unsaid .

a smart , steamy mix of road movie , coming-of-age story and political satire .

it 's coherent , well shot , and tartly acted , but it wears you down like a dinner guest showing off his doctorate .

wraps itself in the guise of a dark and quirky comedy , but it is n't as quirky as it thinks it is and its comedy is generally mean-spirited .

k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia .

a four star performance from kevin kline who unfortunately works with a two star script .

god bless crudup and his aversion to taking the easy hollywood road and cashing in on his movie-star gorgeousness .

it 's a feel-good movie about which you can actually feel good .

the movie is our story as much as it is schmidt 's , no matter if it 's viewed as a self-reflection or cautionary tale .

if anything , see it for karen black , who camps up a storm as a fringe feminist conspiracy theorist named dirty dick .

watching the chemistry between freeman and judd , however , almost makes this movie worth seeing .

mark wahlberg ... may look classy in a '60s - homage pokepie hat , but as a character he 's dry , dry , dry .

a film that will probably please people already fascinated by behan but leave everyone else yawning with admiration .

moonlight mile gives itself the freedom to feel contradictory things .

it 's a movie that accomplishes so much that one viewing ca n't possibly be enough .

the film aims to be funny , uplifting and moving , sometimes all at once .

like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .

the film never gets over its own investment in conventional arrangements , in terms of love , age , gender , race , and class .

nicely combines the enigmatic features of ` memento ' with the hallucinatory drug culture of ` requiem for a dream . '

last dance , whatever its flaws , fulfills one facet of its mission in making me want to find out whether , in this case , that 's true .

sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .

-lrb- a -rrb- stale retread of the '53 original .

more concerned with overall feelings , broader ideas , and open-ended questions than concrete story and definitive answers , soderbergh 's solaris is a gorgeous and deceptively minimalist cinematic tone poem .

alarms for duvall 's throbbing sincerity and his elderly propensity for patting people while he talks .

there 's no point in extracting the bare bones of byatt 's plot for purposes of bland hollywood romance .

the performances are amiable and committed , and the comedy more often than not hits the bullseye .

zigzag might have been richer and more observant if it were less densely plotted .

to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again ... that in itself is commentary enough .

is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience .

at some point , all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .

a ragbag of cliches .

overburdened with complicated plotting and banal dialogue

the picture runs a mere 84 minutes , but it 's no glance .

steers refreshingly clear of the usual cliches .

niccol the filmmaker merges his collaborators ' symbolic images with his words , insinuating , for example , that in hollywood , only god speaks to the press

it 's a beautiful film , full of elaborate and twisted characters - and it 's also pretty funny .

the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch .

the picture emerges as a surprisingly anemic disappointment .

whatever complaints i might have , i 'd take -lrb- its -rrb- earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor 's club any time .

rice never clearly defines his characters or gives us a reason to care about them .

though not for everyone , the guys is a somber trip worth taking .

another entertaining romp from robert rodriguez .

but here 's a movie about it anyway .

if -lrb- jaglom 's -rrb- latest effort is not the director at his most sparkling , some of its repartee is still worth hearing .

i did n't smile .

the script by david koepp is perfectly serviceable and because he gives the story some soul ... he elevates the experience to a more mythic level .

kapur fails to give his audience a single character worth rooting for -lrb- or worth rooting against , for that matter -rrb- .

it 's a visual delight and a decent popcorn adventure , as long as you do n't try to look too deep into the story

see it now , before the inevitable hollywood remake flattens out all its odd , intriguing wrinkles .

befuddled in its characterizations as it begins to seem as long as the two year affair which is its subject

nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises .

it 's horribly depressing and not very well done .

veterans of the dating wars will smirk uneasily at the film 's nightmare versions of everyday sex-in-the-city misadventures .

now as a former gong show addict , i 'll admit it , my only complaint is that we did n't get more re-creations of all those famous moments from the show .