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it 's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today .

the movie is virtually without context -- journalistic or historical .

-lrb- the film 's -rrb- taste for `` shock humor '' will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers .

as a remake , it 's a pale imitation .

lan yu is a genuine love story , full of traditional layers of awakening and ripening and separation and recovery .

-lrb- washington 's -rrb- strong hand , keen eye , sweet spirit and good taste are reflected in almost every scene .

only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley 's flopping dolphin-gasm .

i 'm left slightly disappointed that it did n't .

this is lightweight filmmaking , to be sure , but it 's pleasant enough -- and oozing with attractive men .

i was impressed by how many tit-for-tat retaliatory responses the filmmakers allow before pulling the plug on the conspirators and averting an american-russian armageddon .

entertaining enough , but nothing new

arty gay film .

pure cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and swooning elegance .

changing lanes tries for more .

the only time 8 crazy nights comes close to hitting a comedic or satirical target is during the offbeat musical numbers .

the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .

sean penn , you owe nicolas cage an apology .

the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken .

ludicrous , but director carl franklin adds enough flourishes and freak-outs to make it entertaining .

for his first attempt at film noir , spielberg presents a fascinating but flawed look at the near future .

a lively and engaging examination of how similar obsessions can dominate a family .

certainly the performances are worthwhile .

fifty years after the fact , the world 's political situation seems little different , and -lrb- director phillip -rrb- noyce brings out the allegory with remarkable skill .

i do n't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it 's a dish that 's best served cold .

the acting in pauline and paulette is good all round , but what really sets the film apart is debrauwer 's refusal to push the easy emotional buttons .

spectacularly beautiful , not to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing .

a weird and wonderful comedy .

smart and taut .

a non-britney person might survive a screening with little harm done , except maybe for the last 15 minutes , which are as maudlin as any after-school special you can imagine .

c'mon !

this is one of the outstanding thrillers of recent years .

will be far more interesting to the soderbergh faithful than it will be to the casual moviegoer who might be lured in by julia roberts ...

in the end , the film is less the cheap thriller you 'd expect than it is a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably and dangerously collide .

a searing , epic treatment of a nationwide blight that seems to be , horrifyingly , ever on the rise .

every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible .

the film is a masterpiece of nuance and characterization , marred only by an inexplicable , utterly distracting blunder at the very end .

an extraordinary dramatic experience .

piccoli 's performance is amazing , yes , but the symbols of loss and denial and life-at-arm 's - length in the film seem irritatingly transparent .

no film could possibly be more contemptuous of the single female population .

it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .

drowning 's too good for this sucker .

rob schneider , dana carvey and sarah michelle gellar in the philadelphia story ?

the path ice age follows most closely , though , is the one established by warner bros. giant chuck jones , who died a matter of weeks before the movie 's release .

if i could have looked into my future and saw how bad this movie was , i would go back and choose to skip it .

as inept as big-screen remakes of the avengers and the wild wild west .

everything -- even life on an aircraft carrier -- is sentimentalized .

a bittersweet film , simple in form but rich with human events .

a classic fairy tale that perfectly captures the wonders and worries of childhood in a way that few movies have ever approached .

directed with purpose and finesse by england 's roger mitchell , who handily makes the move from pleasing , relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft .

it 's an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise .

cletis is playful but highly studied and dependent for its success on a patient viewer .

would benigni 's italian pinocchio have been any easier to sit through than this hastily dubbed disaster ?

this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life .

each punch seen through prison bars , the fights become not so much a struggle of man vs. man as brother-man vs. the man .

there 's an admirable rigor to jimmy 's relentless anger , and to the script 's refusal of a happy ending , but as those monologues stretch on and on , you realize there 's no place for this story to go but down .

i 'll stay with the stage versions , however , which bite cleaner , and deeper .

it 's a movie that ends with truckzilla , for cryin ' out loud .

chalk it up as the worst kind of hubristic folly .

the story , once it gets rolling , is nothing short of a great one .

they just do n't work in concert .

a movie that falls victim to frazzled wackiness and frayed satire .

it 's supposed to be a humorous , all-too-human look at how hope can breed a certain kind of madness -- and strength -- but it never quite adds up .

an unintentionally surreal kid 's picture ... in which actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode .

both damning and damned compelling .

it 's not original enough .

apart from anything else , this is one of the best-sustained ideas i have ever seen on the screen .

the adventures of pluto nash is a whole lot of nada .

a meditation on faith and madness , frailty is blood-curdling stuff .

he 's one of the few ` cool ' actors who never seems aware of his own coolness .

this 100-minute movie only has about 25 minutes of decent material .

a serious movie with serious ideas .

attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say , outdated , it 's a wonder that he could n't have brought something fresher to the proceedings simply by accident .

plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .

stripped almost entirely of such tools as nudity , profanity and violence , labute does manage to make a few points about modern man and his problematic quest for human connection .

it 's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming .

leave it to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama .

beautiful to watch and holds a certain charm .

campbell scott finds the ideal outlet for his flick-knife diction in the role of roger swanson .

it 's like a `` big chill '' reunion of the baader-meinhof gang , only these guys are more harmless pranksters than political activists .

then you 'd do well to check this one out because it 's straight up twin peaks action ...

aside from showing us in explicit detail how difficult it is to win over the two-drink-minimum crowd , there 's little to be learned from watching ` comedian '

mana gives us compelling , damaged characters who we want to help -- or hurt .

that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .

land , people and narrative flow together in a stark portrait of motherhood deferred and desire explored .

did the film inform and educate me ?

barney 's ideas about creation and identity do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material .

build some robots , haul 'em to the theatre with you for the late show , and put on your own mystery science theatre 3000 tribute to what is almost certainly going to go down as the worst -- and only -- killer website movie of this or any other year .

cineasts will revel in those visual in-jokes , as in the film 's verbal pokes at everything from the likes of miramax chief harvey weinstein 's bluff personal style to the stylistic rigors of denmark 's dogma movement .

bottom-rung new jack city wannabe .

despite the fact that this film was n't as bad as i thought it was going to be , it 's still not a good movie

but this time , the old mib label stands for milder is n't better .

forget the misleading title , what 's with the unexplained baboon cameo ?

it 's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long .

what 's surprising about this traditional thriller , moderately successful but not completely satisfying , is exactly how genteel and unsurprising the execution turns out to be .

yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to produce another smash hit .

every conceivable mistake a director could make in filming opera has been perpetrated here .

the film 's desire to be liked sometimes undermines the possibility for an exploration of the thornier aspects of the nature\/nurture argument in regards to homosexuality .

a standard police-oriented drama that , were it not for de niro 's participation , would have likely wound up a tnt original .

yet another movie which presumes that high school social groups are at war , let alone conscious of each other 's existence .

with notorious c.h.o. cho proves she has the stuff to stand tall with pryor , carlin and murphy .