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horns and halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth .

a particularly joyless , and exceedingly dull , period coming-of-age tale .

an unorthodox little film noir organized crime story that includes one of the strangest love stories you will ever see .

watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .

there 's no good answer to that one .

-lrb- while the last metro -rrb- was more melodramatic , confined to a single theater company and its strategies and deceptions , while tavernier is more concerned with the entire period of history .

cantet beautifully illuminates what it means sometimes to be inside looking out , and at other times outside looking in .

if you think it 's a riot to see rob schneider in a young woman 's clothes , then you 'll enjoy the hot chick .

with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare .

a bore that tends to hammer home every one of its points .

a non-mystery mystery .

there 's back-stabbing , inter-racial desire and , most importantly , singing and dancing .

there 's more repetition than creativity throughout the movie .

together , miller , kuras and the actresses make personal velocity into an intricate , intimate and intelligent journey .

i enjoyed the movie in a superficial way , while never sure what its purpose was .

the film sometimes flags ... but there is enough secondary action to keep things moving along at a brisk , amusing pace .

fear dot com is more frustrating than a modem that disconnects every 10 seconds .

often overwrought and at times positively irritating , the film turns into an engrossing thriller almost in spite of itself .

instead of a witty expose on the banality and hypocrisy of too much kid-vid , we get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos .

feels like the work of an artist who is simply tired -- of fighting the same fights , of putting the weight of the world on his shoulders , of playing with narrative form .

it is very difficult to care about the character , and that is the central flaw of the film .

gangster no. 1 is solid , satisfying fare for adults .

why did they deem it necessary to document all this emotional misery ?

no doubt the star and everyone else involved had their hearts in the right place .

-lrb- rises -rrb- above its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism .

newcomer helmer kevin donovan is hamstrung by a badly handled screenplay of what is really an amusing concept -- a high-tech tux that transforms its wearer into a superman .

this is the first film i 've ever seen that had no obvious directing involved .

captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted `` other . ''

never once predictable .

the film does n't really care about the thousands of americans who die hideously , it cares about how ryan meets his future wife and makes his start at the cia .

offers a guilt-free trip into feel-good territory .

the filmmakers are playing to the big boys in new york and l.a. to that end , they mock the kind of folks they do n't understand , ones they figure the power-lunchers do n't care to understand , either .

i wish it would have just gone more over-the-top instead of trying to have it both ways .

the whole affair , true story or not , feels incredibly hokey ... -lrb- it -rrb- comes off like a hallmark commercial .

-lrb- allen 's -rrb- been making piffle for a long while , and hollywood ending may be his way of saying that piffle is all that the airhead movie business deserves from him right now .

cacoyannis is perhaps too effective in creating an atmosphere of dust-caked stagnation and labored gentility .

the structure is simple , but in its own way , rabbit-proof fence is a quest story as grand as the lord of the rings .

o.k. , not really .

a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks .

nice piece of work .

-lrb- kirshner wins , but it 's close . -rrb-

a road trip that will get you thinking , ` are we there yet ? '

the events of the film are just so weird that i honestly never knew what the hell was coming next .

the ring is worth a look , if you do n't demand much more than a few cheap thrills from your halloween entertainment .

who knew ...

episode ii -- attack of the clones is a technological exercise that lacks juice and delight .

this is a dark , gritty , sometimes funny little gem .

though there 's a clarity of purpose and even-handedness to the film 's direction , the drama feels rigged and sluggish .

noyce 's greatest mistake is thinking that we needed sweeping , dramatic , hollywood moments to keep us

the country bears has no scenes that will upset or frighten young viewers .

what emerges is an unsettling picture of childhood innocence combined with indoctrinated prejudice .

the 3-d vistas from orbit , with the space station suspended like a huge set of wind chimes over the great blue globe , are stanzas of breathtaking , awe-inspiring visual poetry .

cacoyannis ' vision is far less mature , interpreting the play as a call for pity and sympathy for anachronistic phantasms haunting the imagined glory of their own pasts .

jackie chan movies are a guilty pleasure - he 's easy to like and always leaves us laughing .

-lrb- gayton 's script -rrb- telegraphs every discovery and layers on the gloss of convenience .

i know i should n't have laughed , but hey , those farts got to my inner nine-year-old .

... has about 3\/4th the fun of its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity .

there is a general air of exuberance in all about the benjamins that 's hard to resist .

plays like one of those conversations that comic book guy on `` the simpsons '' has .

a sha-na-na sketch punctuated with graphic violence .

a drama ?

dong never pushes for insights beyond the superficial tensions of the dynamic he 's dissecting , and the film settles too easily along the contours of expectation .

this charming but slight tale has warmth , wit and interesting characters compassionately portrayed .

the movie slides downhill as soon as macho action conventions assert themselves .

streamlined to a tight , brisk 85-minute screwball thriller , `` big trouble '' is funny , harmless and as substantial as a tub of popcorn with extra butter .

as it stands , there 's some fine sex onscreen , and some tense arguing , but not a whole lot more .

delightfully rendered

shows that jackie chan is getting older , and that 's something i would rather live in denial about

many insightful moments .

it is a movie about passion .

made to be jaglomized is the cannes film festival , the annual riviera spree of flesh , buzz , blab and money .

the performances are immaculate , with roussillon providing comic relief .

anyone not into high-tech splatterfests is advised to take the warning literally , and log on to something more user-friendly .

director claude chabrol has become the master of innuendo .

as comedic spotlights go , notorious c.h.o. hits all the verbal marks it should .

-lrb- tries -rrb- to parody a genre that 's already a joke in the united states .

they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn .

especially give credit to affleck .

a fragile framework upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming .

and it marks him as one of the most interesting writer\/directors working today .

this picture is murder by numbers , and as easy to be bored by as your abc 's , despite a few whopping shootouts .

though jones and snipes are enthralling , the movie bogs down in rhetoric and cliché .

according to wendigo , ` nature ' loves the members of the upper class almost as much as they love themselves .

even a hardened voyeur would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .

it is refreshingly undogmatic about its characters .

a gratingly unfunny groaner littered with zero-dimensional , unlikable characters and hackneyed , threadbare comic setups .

a vibrant , colorful , semimusical rendition .

but as you watch the movie , you 're too interested to care .

a mediocre exercise in target demographics , unaware that it 's the butt of its own joke .

the funny thing is , i did n't mind all this contrived nonsense a bit .

thumbs down .

while the story does seem pretty unbelievable at times , it 's awfully entertaining to watch .

at a time when we 've learned the hard way just how complex international terrorism is , collateral damage paints an absurdly simplistic picture .

adam sandler !

upper west sidey exercise in narcissism and self-congratulation disguised as a tribute .

as a kind of colorful , dramatized pbs program , frida gets the job done .

an uneven look into a grim future that does n't come close to the level of intelligence and visual splendour that can be seen in other films based on philip k. dick stories .

-lrb- shyamalan -rrb- turns the goose-pimple genre on its empty head and fills it with spirit , purpose and emotionally bruised characters who add up to more than body count .

totally overwrought , deeply biased , and wholly designed to make you feel guilty about ignoring what the filmmakers clearly believe are the greatest musicians of all time .

there 's so much to look at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles .