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the most horrific movie experience i 've had since `` ca n't stop the music . ''

but it also has many of the things that made the first one charming .

whether you like it or not is basically a matter of taste .

weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk .

it 's never laugh-out-loud funny , but it is frequently amusing .

a movie in which laughter and self-exploitation merge into jolly soft-porn 'em powerment . '

quite simply , a joy to watch and -- especially -- to listen to .

not to mention absolutely refreshed .

you can take the grandkids or the grandparents and never worry about anyone being bored ... audience is a sea of constant smiles and frequent laughter .

both the crime story and the love story are unusual .

arteta paints a picture of lives lived in a state of quiet desperation .

there 's no reason to miss interview with the assassin

sayles is making a statement about the inability of dreams and aspirations to carry forward into the next generation .

i like this movie a lot .

comes off more like a misdemeanor , a flat , unconvincing drama that never catches fire .

this sci-fi techno-sex thriller starts out bizarre and just keeps getting weirder .

close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air .

a dreary indulgence .

teens only .

while the transgressive trappings -lrb- especially the frank sex scenes -rrb- ensure that the film is never dull , rodrigues 's beast-within metaphor is ultimately rather silly and overwrought , making the ambiguous ending seem goofy rather than provocative .

blue crush has all the trappings of an energetic , extreme-sports adventure , but ends up more of a creaky `` pretty woman '' retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought .

the movie does has some entertainment value - how much depends on how well you like chris rock .

a man leaving the screening said the film was better than saving private ryan .

the niftiest trick perpetrated by the importance of being earnest is the alchemical transmogrification of wilde into austen -- and a hollywood-ized austen at that .

-lrb- a -rrb- strong piece of work .

daring and beautifully made .

there has to be a few advantages to never growing old .

a well-crafted film that is all the more remarkable because it achieves its emotional power and moments of revelation with restraint and a delicate ambiguity .

with three excellent principal singers , a youthful and good-looking diva and tenor and richly handsome locations , it 's enough to make you wish jacquot had left well enough alone and just filmed the opera without all these distortions of perspective .

... hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny .

slight but enjoyable documentary .

adam sandler 's eight crazy nights grows on you -- like a rash .

when compared to the usual , more somber festival entries , davis ' highly personal brand of romantic comedy is a tart , smart breath of fresh air that stands out from the pack even if the picture itself is somewhat problematic .

nicks and steinberg match their own creations for pure venality -- that 's giving it the old college try .

not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .

and in a sense , that 's a liability .

the romance between the leads is n't as compelling or as believable as it should be .

hugh grant , who has a good line in charm , has never been more charming than in about a boy .

poignant and funny .

this is pure , exciting moviemaking .

never having seen the first two films in the series , i ca n't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days .

the film is a blunt indictment , part of a perhaps surreal campaign to bring kissinger to trial for crimes against humanity .

a straight-ahead thriller that never rises above superficiality .

the film 's constant mood of melancholy and its unhurried narrative are masterfully controlled .

there are scenes of cinematic perfection that steal your heart away .

a low-key labor of love that strikes a very resonant chord .

one of those movies that catches you up in something bigger than yourself , namely , an archetypal desire to enjoy good trash every now and then .

an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .

there 's an energy to y tu mamá también .

the problem with the film is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau .

the whole mess boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years . '

not even steven spielberg has dreamed up such blatant and sickening product placement in a movie .

miyazaki is one of world cinema 's most wondrously gifted artists and storytellers .

the paradiso 's rusted-out ruin and ultimate collapse during the film 's final -lrb- restored -rrb- third ... emotionally belittle a cinema classic .

if you 're down for a silly hack-and-slash flick , you can do no wrong with jason x.

all in all , an interesting look at the life of the campaign-trail press , especially ones that do n't really care for the candidate they 're forced to follow .

in the not-too-distant future , movies like ghost ship will be used as analgesic balm for overstimulated minds .

some movies can get by without being funny simply by structuring the scenes as if they were jokes : a setup , delivery and payoff .

ryan gosling is , in a word , brilliant as the conflicted daniel .

i do n't think so .

at best this is a film for the under-7 crowd .

a fresh , entertaining comedy that looks at relationships minus traditional gender roles .

poetry in motion captured on film .

the fourth in a series that i 'll bet most parents had thought -- hoped !

parts of the film feel a bit too much like an infomercial for ram dass 's latest book aimed at the boomer demographic .

the script is a dim-witted pairing of teen-speak and animal gibberish .

but here 's a glimpse at his life .

almost peerlessly unsettling .

despite auteuil 's performance , it 's a rather listless amble down the middle of the road , where the thematic ironies are too obvious and the sexual politics too smug .

-lrb- ferrera -rrb- has the charisma of a young woman who knows how to hold the screen .

a solid and refined piece of moviemaking imbued with passion and attitude .

flamboyant in some movies and artfully restrained in others , 65-year-old jack nicholson could be looking at his 12th oscar nomination by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary .

while this one gets off with a good natured warning , future lizard endeavors will need to adhere more closely to the laws of laughter

the hot topics of the plot are relegated to the background -- a welcome step forward from the sally jesse raphael atmosphere of films like philadelphia and american beauty .

daughter from danang reveals that efforts toward closure only open new wounds .

if not a home run , then at least a solid base hit .

it 's a fine , old-fashioned-movie movie , which is to say it 's unburdened by pretensions to great artistic significance .

what it lacks in substance it makes up for in heart .

carrying off a spot-on scottish burr , duvall -lrb- also a producer -rrb- peels layers from this character that may well not have existed on paper .

there are enough throwaway references to faith and rainbows to plant smile-button faces on that segment of the populace that made a walk to remember a niche hit .

a well-acted , but one-note film .

suffice to say its total promise is left slightly unfulfilled .

the picture 's fascinating byways are littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed .

walter hill 's undisputed is like a 1940s warner bros. .

parents beware ; this is downright movie penance .

whatever satire lucky break was aiming for , it certainly got lost in the `` soon-to-be-forgettable '' section of the quirky rip-off prison romp pile .

it did n't go straight to video .

fred schepisi 's tale of four englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point .

there 's no energy .

the movie tries to be ethereal , but ends up seeming goofy .

starts off witty and sophisticated and you want to love it -- but filmmaker yvan attal quickly writes himself into a corner .

kosminsky ... puts enough salt into the wounds of the tortured and self-conscious material to make it sting .

a well made indieflick in need of some trims and a more chemistry between its stars .

seems based on ugly ideas instead of ugly behavior , as happiness was ... hence , storytelling is far more appealing .

it 's the unsettling images of a war-ravaged land that prove more potent and riveting than the unlikely story of sarah and harrison .

alternates between deadpan comedy and heartbreaking loneliness and is n't afraid to provoke introspection in both its characters and its audience .

true to its title , it traps audiences in a series of relentlessly nasty situations that we would pay a considerable ransom not to be looking at .

at its best when the guarded , resentful betty and the manipulative yet needy margot are front and center .

with exquisite craftsmanship ... olivier assayas has fashioned an absorbing look at provincial bourgeois french society .

your response to its new sequel , analyze that , may hinge on what you thought of the first film .