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its generic villains lack any intrigue -lrb- other than their funny accents -rrb- and the action scenes are poorly delivered .

while bollywood\/hollywood will undoubtedly provide its keenest pleasures to those familiar with bombay musicals , it also has plenty for those -lrb- like me -rrb- who are n't .

has no reason to exist , other than to employ hollywood kids and people who owe favors to their famous parents .

in a big corner office in hell , satan is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24\/7 .

captures all the longing , anguish and ache , the confusing sexual messages and the wish to be a part of that elusive adult world .

in a movie full of surprises , the biggest is that secret ballot is a comedy , both gentle and biting .

... passable enough for a shoot-out in the o.k. court house of life type of flick .

deep down , i realized the harsh reality of my situation : i would leave the theater with a lower i.q. than when i had entered .

a chance to see three splendid actors turn a larky chase movie into an emotionally satisfying exploration of the very human need to be somebody , and to belong to somebody .

well cast and well directed - a powerful drama with enough sardonic wit to keep it from being maudlin .

an ambitiously naturalistic , albeit half-baked , drama about an abused , inner-city autistic teen .

it is just too bad the film 's story does not live up to its style .

just how these families interact may surprise you .

a wild ride juiced with enough energy and excitement for at least three films .

a muted freak-out

lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile , is a towering siren .

absolutely not .

by turns gripping , amusing , tender and heart-wrenching , laissez-passer has all the earmarks of french cinema at its best .

the cat 's meow marks a return to form for director peter bogdanovich ...

... jones , despite a definitely distinctive screen presence , just is n't able to muster for a movie that , its title notwithstanding , should have been a lot nastier if it wanted to fully capitalize on its lead 's specific gifts .

generic slasher-movie nonsense , but it 's not without style .

fans of so-bad-they 're - good cinema may find some fun in this jumbled mess .

vibrantly colored and beautifully designed , metropolis is a feast for the eyes .

brown 's saga , like many before his , makes for snappy prose but a stumblebum of a movie .

` stock up on silver bullets for director neil marshall 's intense freight train of a film . '

at its best , which occurs often , michael moore 's bowling for columbine rekindles the muckraking , soul-searching spirit of the ` are we a sick society ? '

in the real world , an actor this uncharismatically beautiful would have a résumé loaded with credits like `` girl in bar # 3 . ''

hope keeps arising that the movie will live up to the apparent skills of its makers and the talents of its actors , but it does n't .

barney throws away the goodwill the first half of his movie generates by orchestrating a finale that is impenetrable and dull .

an indispensable peek at the art and the agony of making people laugh .

at 78 minutes it just zings along with vibrance and warmth .

the film , while not exactly assured in its execution , is notable for its sheer audacity and openness .

dull and mechanical , kinda like a very goofy museum exhibit

it 's sweet and fluffy at the time , but it may leave you feeling a little sticky and unsatisfied .

sayles has an eye for the ways people of different ethnicities talk to and about others outside the group .

brady achieves the remarkable feat of squandering a topnotch foursome of actors ... by shoving them into every clichéd white-trash situation imaginable .

the irony is that this film 's cast is uniformly superb ; their performances could have -- should have -- been allowed to stand on their own .

this slow-moving swedish film offers not even a hint of joy , preferring to focus on the humiliation of martin as he defecates in bed and urinates on the plants at his own birthday party .

i admire the closing scenes of the film , which seem to ask whether our civilization offers a cure for vincent 's complaint .

a dreary movie .

a thriller whose style , structure and rhythms are so integrated with the story , you can not separate them .

cruel and inhuman cinematic punishment ... simultaneously degrades its characters , its stars and its audience .

you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .

the premise itself is just sooooo tired .

like any good romance , son of the bride , proves it 's never too late to learn .

the emotional overload of female angst irreparably drags the film down .

there 's undeniable enjoyment to be had from films crammed with movie references , but the fun wears thin -- then out -- when there 's nothing else happening .

an engrossing and grim portrait of hookers : what they think of themselves and their clients .

like mike is a harmlessly naïve slice of b-ball fantasy , fit for filling in during the real nba 's off-season .

a lovely and beautifully photographed romance .

in the end , all you can do is admire the ensemble players and wonder what the point of it is .

... while each moment of this broken character study is rich in emotional texture , the journey does n't really go anywhere .

the film 's messages of tolerance and diversity are n't particularly original , but one ca n't help but be drawn in by the sympathetic characters .

aside from the fact that the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea , the film gets added disdain for the fact that it is nearly impossible to look at or understand .

i had more fun watching spy than i had with most of the big summer movies .

a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances , it has considerable charm .

no such thing is sort of a minimalist beauty and the beast , but in this case the beast should definitely get top billing .

it 's not particularly well made , but since i found myself howling more than cringing , i 'd say the film works .

aniston has at last decisively broken with her friends image in an independent film of satiric fire and emotional turmoil .

... blade ii is still top-heavy with blazing guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves that serve no other purpose than to call attention to themselves .

every joke is repeated at least four times .

a smart and funny , albeit sometimes superficial , cautionary tale of a technology in search of an artist .

if you like an extreme action-packed film with a hint of humor , then triple x marks the spot .

otherwise , maybe .

stanley kwan has directed not only one of the best gay love stories ever made , but one of the best love stories of any stripe .

just about the best straight-up , old-school horror film of the last 15 years .

please see previous answer .

in the director 's cut , the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes .

`` not really as bad as you might think ! ''

samuel l. jackson is one of the best actors there is .

it does give a taste of the burning man ethos , an appealing blend of counter-cultural idealism and hedonistic creativity .

a plethora of engaging diatribes on the meaning of ` home , ' delivered in grand passion by the members of the various households .

the result is good gossip , entertainingly delivered , yet with a distinctly musty odour , its expiry date long gone .

has some visual wit ... but little imagination elsewhere .

an imponderably stilted and self-consciously arty movie .

this real-life hollywood fairy-tale is more engaging than the usual fantasies hollywood produces .

waiting for godard can be fruitful : ` in praise of love ' is the director 's epitaph for himself .

it 's all about anakin ... and the lustrous polished visuals rich in color and creativity and , of course , special effect .

solondz is so intent on hammering home his message that he forgets to make it entertaining .

so here it is : it 's about a family of sour immortals .

... pitiful , slapdash disaster .

the crap continues .

while the story 's undeniably hard to follow , iwai 's gorgeous visuals seduce .

it 's a terrible movie in every regard , and utterly painful to watch .

this is a monumental achievement in practically every facet of inept filmmaking : joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy .

a rock-solid gangster movie with a fair amount of suspense , intriguing characters and bizarre bank robberies , plus a heavy dose of father-and-son dynamics .

a terrific b movie -- in fact , the best in recent memory .

unfortunately , the experience of actually watching the movie is less compelling than the circumstances of its making .

i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed .

what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .

you may leave the theater with more questions than answers , but darned if your toes wo n't still be tapping .

nobody seems to have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release .

as in aimless , arduous , and arbitrary .

aside from rohmer 's bold choices regarding point of view , the lady and the duke represents the filmmaker 's lifelong concern with formalist experimentation in cinematic art .

a fascinating glimpse into an insular world that gives the lie to many clichés and showcases a group of dedicated artists .

this is a poster movie , a mediocre tribute to films like them !

there is no solace here , no entertainment value , merely a fierce lesson in where filmmaking can take us .

the graphic carnage and re-creation of war-torn croatia is uncomfortably timely , relevant , and sickeningly real .

the ingenious construction -lrb- adapted by david hare from michael cunningham 's novel -rrb- constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism

or both .