rt-polarity.neg 593 KB
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simplistic , silly and tedious .
it's so laddish and juvenile , only teenage boys could possibly find it funny .
exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable .
[garbus] discards the potential for pathological study , exhuming instead , the skewed melodrama of the circumstantial situation .
a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .
the story is also as unoriginal as they come , already having been recycled more times than i'd care to count .
about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience's meat grinder one more time .
not so much farcical as sour .
unfortunately the story and the actors are served with a hack script .
all the more disquieting for its relatively gore-free allusions to the serial murders , but it falls down in its attempts to humanize its subject .
a sentimental mess that never rings true .
while the performances are often engaging , this loose collection of largely improvised numbers would probably have worked better as a one-hour tv documentary .
interesting , but not compelling .
on a cutting room floor somewhere lies . . . footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .
while the ensemble player who gained notice in guy ritchie's lock , stock and two smoking barrels and snatch has the bod , he's unlikely to become a household name on the basis of his first starring vehicle .
there is a difference between movies with the courage to go over the top and movies that don't care about being stupid
nothing here seems as funny as it did in analyze this , not even joe viterelli as de niro's right-hand goombah .
such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us " the skulls " and last year's " rollerball . " enough said , except : film overboard !
here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .
this 100-minute movie only has about 25 minutes of decent material .
the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl .
on its own , it's not very interesting . as a remake , it's a pale imitation .
it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there's a little girl-on-girl action .
a farce of a parody of a comedy of a premise , it isn't a comparison to reality so much as it is a commentary about our knowledge of films .
as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .
the party scenes deliver some tawdry kicks . the rest of the film . . . is dudsville .
our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender — and i know this because i've seen 'jackass : the movie . '
the criticism never rises above easy , cynical potshots at morally bankrupt characters . . .
the movie's something-borrowed construction feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story . killing time , that's all that's going on here .
stupid , infantile , redundant , sloppy , over-the-top , and amateurish . yep , it's " waking up in reno . " go back to sleep .
somewhere in the middle , the film compels , as demme experiments he harvests a few movie moment gems , but the field of roughage dominates .
the action clichés just pile up .
payami tries to raise some serious issues about iran's electoral process , but the result is a film that's about as subtle as a party political broadcast .
the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pictures of them cavorting in ladies' underwear .
another useless recycling of a brutal mid-'70s american sports movie .
i didn't laugh . i didn't smile . i survived .
please , someone , stop eric schaeffer before he makes another film .
most of the problems with the film don't derive from the screenplay , but rather the mediocre performances by most of the actors involved
 . . . if you're just in the mood for a fun -- but bad -- movie , you might want to catch freaks as a matinee .
curling may be a unique sport but men with brooms is distinctly ordinary .
though the opera itself takes place mostly indoors , jacquot seems unsure of how to evoke any sort of naturalism on the set .
there's no getting around the fact that this is revenge of the nerds revisited -- again .
the effort is sincere and the results are honest , but the film is so bleak that it's hardly watchable .
analyze that regurgitates and waters down many of the previous film's successes , with a few new swings thrown in .
with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout . . . by which time it's impossible to care who wins .
stinks from start to finish , like a wet burlap sack of gloom .
to the civilized mind , a movie like ballistic : ecks vs . sever is more of an ordeal than an amusement .
equlibrium could pass for a thirteen-year-old's book report on the totalitarian themes of 1984 and farenheit 451 .
the lack of naturalness makes everything seem self-consciously poetic and forced . . . it's a pity that [nelson's] achievement doesn't match his ambition .
everything is off .
when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , 'hey , kool-aid ! '
an easy watch , except for the annoying demeanour of its lead character .
imagine the cleanflicks version of 'love story , ' with ali macgraw's profanities replaced by romance-novel platitudes .
pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .
forget the misleading title , what's with the unexplained baboon cameo ?
an odd , haphazard , and inconsequential romantic comedy .
though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhere .
pascale bailly's rom-com provides amélie's audrey tautou with another fabuleux destin -- i . e . , a banal spiritual quest .
a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .
watching the chemistry between freeman and judd , however , almost makes this movie worth seeing . almost .
 . . . a pretentious and ultimately empty examination of a sick and evil woman .
the country bears has no scenes that will upset or frighten young viewers . unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .
the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge . before long , you're desperate for the evening to end .
the characters are never more than sketches . . . which leaves any true emotional connection or identification frustratingly out of reach .
mattei's underdeveloped effort here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .
only in its final surprising shots does rabbit-proof fence find the authority it's looking for .
isn't as sharp as the original . . . despite some visual virtues , 'blade ii' just doesn't cut it .
 . . . plays like a badly edited , 91-minute trailer ( and ) the director can't seem to get a coherent rhythm going . in fact , it doesn't even seem like she tried .
maybe leblanc thought , " hey , the movie about the baseball-playing monkey was worse . "
what you expect is just what you get . . . assuming the bar of expectations hasn't been raised above sixth-grade height .
barry sonnenfeld owes frank the pug big time
the biggest problem with roger avary's uproar against the mpaa is that , even in all its director's cut glory , he's made a film that's barely shocking , barely interesting and most of all , barely anything .
so riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plod along .
i approached the usher and said that if she had to sit through it again , she should ask for a raise .
earnest but heavy-handed .
if sinise's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over .
too slow for a younger crowd , too shallow for an older one .
there's a reason the studio didn't offer an advance screening . " the adventures of pluto nash " is a big time stinker .
a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .
takes one character we don't like and another we don't believe , and puts them into a battle of wills that is impossible to care about and isn't very funny .
the things this movie tries to get the audience to buy just won't fly with most intelligent viewers .
even if the enticing prospect of a lot of nubile young actors in a film about campus depravity didn't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary's failure to construct a story with even a trace of dramatic interest .
sitting through the last reel ( spoiler alert ! ) is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .
confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .
deadly dull , pointless meditation on losers in a gone-to-seed hotel .
with this new rollerball , sense and sensibility have been overrun by what can only be characterized as robotic sentiment .
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
a movie more to be prescribed than recommended -- as visually bland as a dentist's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms .
sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler . but never mind all that ; the boobs are fantasti
the script covers huge , heavy topics in a bland , surfacey way that doesn't offer any insight into why , for instance , good things happen to bad people .
a portrait of alienation so perfect , it will certainly succeed in alienating most viewers .
the code talkers deserved better than a hollow tribute .
skip the film and buy the philip glass soundtrack cd .
feels like a cold old man going through the motions .
dignified ceo's meet at a rustic retreat and pee against a tree . can you bear the laughter ?
dull and mechanical , kinda like a very goofy museum exhibit
there's no point of view , no contemporary interpretation of joan's prefeminist plight , so we're left thinking the only reason to make the movie is because present standards allow for plenty of nudity .
beware the quirky brit-com . they can and will turn on a dime from oddly humorous to tediously sentimental .
has its moments -- and almost as many subplots .
the gags , and the script , are a mixed bag .
completely awful iranian drama . . . as much fun as a grouchy ayatollah in a cold mosque .
narratively , trouble every day is a plodding mess .
there's no point in extracting the bare bones of byatt's plot for purposes of bland hollywood romance .
directors john musker and ron clements , the team behind the little mermaid , have produced sparkling retina candy , but they aren't able to muster a lot of emotional resonance in the cold vacuum of space .
adam sandler's heart may be in the right place , but he needs to pull his head out of his butt
there's no doubting that this is a highly ambitious and personal project for egoyan , but it's also one that , next to his best work , feels clumsy and convoluted .
despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that's as fresh-faced as its young-guns cast .
it's all pretty tame . the most offensive thing about the movie is that hollywood expects people to pay to see it .
the movie is a mess from start to finish .
the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness .
i'm not saying that ice age doesn't have some fairly pretty pictures , but there's not enough substance in the story to actually give them life .
in the telling of a story largely untold , bui chooses to produce something that is ultimately suspiciously familiar .
the plot is nothing but boilerplate clichés from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it's also too stupid to realize that they've already seen this exact same movie a hundred times
terminally brain dead production .
some episodes work , some don't .
beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics .
j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she's a pretty woman , but she's no working girl .
rymer doesn't trust laughs -- and doesn't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects .
not only are the film's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this 'we're -doing-it-for -the-cash' sequel were .
wow . i have not been this disappointed by a movie in a long time .
off the hook is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .
it's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .
watching harris ham it up while physically and emotionally disintegrating over the course of the movie has a certain poignancy in light of his recent death , but boyd's film offers little else of consequence .
it's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .
'ejemplo de una cinta en que no importa el talento de su reparto o lo interesante que pudo haber resultado su premisa , pues el resultado es francamente aburrido y , por momentos , deplorable . '
will probably be one of those movies barely registering a blip on the radar screen of 2002 .
the problem is not that it's all derivative , because plenty of funny movies recycle old tropes . the problem is that van wilder does little that is actually funny with the material .
there's nothing interesting in unfaithful whatsoever .
none of this is half as moving as the filmmakers seem to think .
a processed comedy chop suey .
as spent screen series go , star trek : nemesis is even more suggestive of a 65th class reunion mixer where only eight surviving members show up -- and there's nothing to drink .
fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix .
full of the kind of obnoxious chitchat that only self-aware neurotics engage in .
an erotic thriller that's neither too erotic nor very thrilling , either .
the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .
with its parade of almost perpetually wasted characters . . . margarita feels like a hazy high that takes too long to shake .
if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash .
the director and her capable cast appear to be caught in a heady whirl of new age-inspired good intentions , but the spell they cast isn't the least bit mesmerizing .
everything is pegged into the groove of a new york dating comedy with 'issues' to simplify .
a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff .
the cameo-packed , m : i-2-spoofing title sequence is the funniest 5 minutes to date in this spy comedy franchise . . . then mike myers shows up and ruins everything .
it comes off as so silly that you wouldn't be surprised if ba , murdock and rest of the a-team were seen giving chase in a black and red van .
the 50-something lovebirds are too immature and unappealing to care about .
so genial is the conceit , this is one of those rare pictures that you root for throughout , dearly hoping that the rich promise of the script will be realized on the screen . it never is , not fully .
even in the summertime , the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities .
what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .
one lousy movie .
as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .
plodding , peevish and gimmicky .
the four feathers is definitely horse feathers , but if you go in knowing that , you might have fun in this cinematic sandbox .
oozes condescension from every pore .
solaris " is a shapeless inconsequential move relying on the viewer to do most of the work .
the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .
 . . . hypnotically dull .
though this saga would be terrific to read about , it is dicey screen material that only a genius should touch .
it has plenty of laughs . it just doesn't have much else . . . especially in a moral sense .
an awful lot like one of [spears'] music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .
confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .
[h]ad i suffered and bled on the hard ground of ia drang , i'd want something a bit more complex than we were soldiers to be remembered by .
occasionally loud and offensive , but more often , it simply lulls you into a gentle waking coma .
it may play well as a double feature with mainstream foreign mush like my big fat greek wedding
by the time you reach the finale , you're likely wondering why you've been watching all this strutting and posturing .
journalistically dubious , inept and often lethally dull .
putting the primitive murderer inside a high-tech space station unleashes a pandora's box of special effects that run the gamut from cheesy to cheesier to cheesiest .
 at its best , it's black hawk down with more heart . at its worst , it's rambo- meets-john ford .
exactly what you'd expect from a guy named kaos .
calculated swill .
this movie . . . doesn't deserve the energy it takes to describe how bad it is .
with or without ballast tanks , k-19 sinks to a harrison ford low .
director oliver parker labors so hard to whip life into the importance of being earnest that he probably pulled a muscle or two .
you might be shocked to discover that seinfeld's real life is boring .
it's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time .
walsh can't quite negotiate the many inconsistencies in janice's behavior or compensate for them by sheer force of charm .
this 10th film in the series looks and feels tired .
it leers , offering next to little insight into its intriguing subject .
i found myself growing more and more frustrated and detached as vincent became more and more abhorrent .
one of the oddest and most inexplicable sequels in movie history .
there's nothing to gain from watching they . it isn't scary . it hates its characters . it finds no way to entertain or inspire its viewers .
fear permeates the whole of stortelling , todd solondz' oftentimes funny , yet ultimately cowardly autocritique .
the skirmishes for power waged among victims and predators settle into an undistinguished rhythm of artificial suspense .
thoroughly awful .
 . . . ice age treads predictably along familiar territory , making it a passable family film that won't win many fans over the age of 12 .
though the film is well-intentioned , one could rent the original and get the same love story and parable .
just too silly and sophomoric to ensnare its target audience .
the video work is so grainy and rough , so dependent on being 'naturalistic' rather than carefully lit and set up , that it's exhausting to watch .
truly terrible .
a cleverly crafted but ultimately hollow mockumentary .
it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .
an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
it's tommy's job to clean the peep booths surrounding her , and after viewing this one , you'll feel like mopping up , too .
rifkin no doubt fancies himself something of a hubert selby jr . , but there isn't an ounce of honest poetry in his entire script ; it's simply crude and unrelentingly exploitative .
fluffy and disposible .
such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .
if you go into the theater expecting a scary , action-packed chiller , you might soon be looking for a sign . an exit sign , that is .
holds limited appeal to those who like explosions , sadism and seeing people beat each other to a pulp .
the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed .
a feature-length , r-rated , road-trip version of mama's family .
what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between .
stealing harvard doesn't care about cleverness , wit or any other kind of intelligent humor .
bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .
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 .
imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor . the result might look like vulgar .
suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands .
what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it's icky .
it's an 88-minute highlight reel that's 86 minutes too long .
the film favors the scientific over the spectacular ( visually speaking ) .
such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .
with the exception of mccoist , the players don't have a clue on the park . the acting isn't much better .
the whole affair is as predictable as can be .
a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .
this cloying , voices-from-the-other-side story is hell .
a suffocating rape-payback horror show that hinges on the subgenre's most enabling victim . . . and an ebullient affection for industrial-model meat freezers .
star trek was kind of terrific once , but now it is a copy of a copy of a copy .
[n]o matter how much good will the actors generate , showtime eventually folds under its own thinness .
every potential twist is telegraphed well in advance , every performance respectably muted ; the movie itself seems to have been made under the influence of rohypnol .
puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .
ver wiel's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless .
despite a performance of sustained intelligence from stanford and another of subtle humour from bebe neuwirth , as an older woman who seduces oscar , the film founders on its lack of empathy for the social milieu - rich new york intelligentsia - and its off
although disney follows its standard formula in this animated adventure , it feels more forced than usual .
gaghan . . . has thrown every suspenseful cliché in the book at this nonsensical story .
a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .
[p]artnering murphy with robert de niro for the tv-cops comedy showtime would seem to be surefire casting . the catch is that they're stuck with a script that prevents them from firing on all cylinders .
'you'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied . you'll feel like you ate a reeses without the peanut butter . . . '
gooding offers a desperately ingratiating performance .
parker should be commended for taking a fresh approach to familiar material , but his determination to remain true to the original text leads him to adopt a somewhat mannered tone . . . that ultimately dulls the human tragedy at the story's core .
the director has injected self-consciousness into the proceedings at every turn . the results are far more alienating than involving .
bogdanich is unashamedly pro-serbian and makes little attempt to give voice to the other side .
a lack of thesis makes maryam , in the end , play out with the intellectual and emotional impact of an after-school special .
the worst film of the year .
by-the-numbers yarn .
without shakespeare's eloquent language , the update is dreary and sluggish .
if h . g . wells had a time machine and could take a look at his kin's reworked version , what would he say ? 'it looks good , sonny , but you missed the point . '
during the tuxedo's 90 minutes of screen time , there isn't one true 'chan moment' .
bisset delivers a game performance , but she is unable to save the movie .
watching austin powers in goldmember is like binging on cotton candy . it's sweet and fluffy at the time , but it may leave you feeling a little sticky and unsatisfied .
the most anti-human big studio picture since 3000 miles to graceland .
the film can depress you about life itself .
i'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap cliché .
the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line .
its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers .
the plot plummets into a comedy graveyard before janice comes racing to the rescue in the final reel .
sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .
at 90 minutes this movie is short , but it feels much longer .
here's my advice , kev . start reading your scripts before signing that dotted line .
an alternately raucous and sappy ethnic sitcom . . . you'd be wise to send your regrets .
an ugly-duckling tale so hideously and clumsily told it feels accidental .
unfortunately , it's also not very good . especially compared with the television series that inspired the movie .
it wraps up a classic mother/daughter struggle in recycled paper with a shiny new bow and while the audience can tell it's not all new , at least it looks pretty .
glazed with a tawdry b-movie scum .
this is the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness .
it winds up moving in many directions as it searches ( vainly , i think ) for something fresh to say .
all in all , road to perdition is more in love with strangeness than excellence .
a big fat pain .
a mimetic approximation of better films like contempt and 8 1/2 .
unintelligible , poorly acted , brain-slappingly bad , harvard man is ludicrous enough that it could become a cult classic .
watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .
aan opportunity wasted .
an inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength .
to build a feel-good fantasy around a vain dictator-madman is off-putting , to say the least , not to mention inappropriate and wildly undeserved .
with the cheesiest monsters this side of a horror spoof , which they isn't , it is more likely to induce sleep than fright .
mild , meandering teen flick .
though its atmosphere is intriguing . . . the drama is finally too predictable to leave much of an impression .
though this rude and crude film does deliver a few gut-busting laughs , its digs at modern society are all things we've seen before .
although it tries to be much more , it's really just another major league .
astonishing isn't the word -- neither is incompetent , incoherent or just plain crap . indeed , none of these words really gets at the very special type of badness that is deuces wild .
one thing is for sure : this movie does not tell you a whole lot about lily chou-chou .
with a tone as variable as the cinematography , schaeffer's film never settles into the light-footed enchantment the material needs , and the characters' quirks and foibles never jell into charm .
to better understand why this didn't connect with me would require another viewing , and i won't be sitting through this one again . . . that in itself is commentary enough .
cuba gooding jr . valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy .
diane lane's sophisticated performance can't rescue adrian lyne's unfaithful from its sleazy moralizing .
not at all clear what it's trying to say and even if it were – i doubt it would be all that interesting .
storytelling feels slight .
[swimfan] falls victim to sloppy plotting , an insultingly unbelievable final act and a villainess who is too crazy to be interesting .
this remake of lina wertmuller's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and bo derek made the ridiculous bolero .
silly , loud and goofy .
why spend $9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?
the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .
the basic premise is intriguing but quickly becomes distasteful and downright creepy .
the pool drowned me in boredom .
it's like an all-star salute to disney's cheesy commercialism .
it's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .
some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .
there's an excellent 90-minute film here ; unfortunately , it runs for 170 .
as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses .
die another day is only intermittently entertaining but it's hard not to be a sucker for its charms , or perhaps it's just impossible not to feel nostalgia for movies you grew up with .
as is often the case with ambitious , eager first-time filmmakers , mr . murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold .
the mystery of enigma is how a rich historical subject , combined with so much first-rate talent . . . could have yielded such a flat , plodding picture .
it throws quirky characters , odd situations , and off-kilter dialogue at us , all as if to say , " look at this ! this is an interesting movie ! " but the film itself is ultimately quite unengaging .
the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror/action hybrid .
bad company . bad movie . just plain bad .
it's not only dull because we've seen [eddie] murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed .
avary's film never quite emerges from the shadow of ellis' book .
a poorly scripted , preachy fable that forgets about unfolding a coherent , believable story in its zeal to spread propaganda .
while it is interesting to witness the conflict from the palestinian side , longley's film lacks balance . . . and fails to put the struggle into meaningful historical context .
woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the " saving private ryan " battle scenes before realizing steven spielberg got it right the first time ?
it's sincere to a fault , but , unfortunately , not very compelling or much fun .
 . . . jones , despite a definitely distinctive screen presence , just isn'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 .
this follow-up seems so similar to the 1953 disney classic that it makes one long for a geriatric peter .
why , you may ask , why should you buy the movie milk when the tv cow is free ? there's no good answer to that one .
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 .
a muddled limp biscuit of a movie , a vampire soap opera that doesn't make much sense even on its own terms .
there's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .
this is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action .
this is amusing for about three minutes .
klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed .
it's rare to see a movie that takes such a speedy swan dive from " promising " to " interesting " to " familiar " before landing squarely on " stupid " .
this is the sort of low-grade dreck that usually goes straight to video --with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .
the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why .
there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending .
it won't harm anyone , but neither can i think of a very good reason to rush right out and see it . after all , it'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies .
looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights .
given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors' workshop that it is .
they kept much of the plot but jettisoned the stuff that would make this a moving experience for people who haven't read the book .
just because a walk to remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls .
[carvey's] characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .
it's mildly interesting to ponder the peculiar american style of justice that plays out here , but it's so muddled and derivative that few will bother thinking it all through .
this dreadfully earnest inversion of the concubine love triangle eschews the previous film's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension .
brown's saga , like many before his , makes for snappy prose but a stumblebum of a movie .
the boys' sparring , like the succession of blows dumped on guei , wears down the story's more cerebral , and likable , plot elements .
the script by vincent r . nebrida . . . tries to cram too many ingredients into one small pot .
the story is so light and sugary that were it a macy's thanksgiving day parade balloon , extra heavy-duty ropes would be needed to keep it from floating away .
oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between .
since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche .
only those most addicted to film violence in all its forms will find anything here to appreciate .
cold and scattered , minority report commands interest almost solely as an exercise in gorgeous visuals . that's not vintage spielberg and that , finally , is minimally satisfying .
every now and again , a movie comes along to remind us of how very bad a motion picture can truly be . frank mcklusky c . i . is that movie !
it's not difficult to spot the culprit early-on in this predictable thriller .
[a] soulless , stupid sequel . . .
 . . . a mostly boring affair with a confusing sudden finale that's likely to irk viewers .
the trappings of i spy are so familiar you might as well be watching a rerun .
what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .
in the wake of saving private ryan , black hawk down and we were soldiers , you are likely to be as heartily sick of mayhem as cage's war-weary marine .
it is messy , uncouth , incomprehensible , vicious and absurd .
really does feel like a short stretched out to feature length .
hampered -- no , paralyzed -- by a self-indulgent script . . . that aims for poetry and ends up sounding like satire .
cheap , vulgar dialogue and a plot that crawls along at a snail's pace .
and if you appreciate the one-sided theme to lawrence's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest . if you are willing to do this , then you so crazy !
directed without the expected flair or imagination by hong kong master john woo , windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length .
it's a very tasteful rock and roll movie . you could put it on a coffee table anywhere .
the movie is loaded with good intentions , but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality .
an infuriating film . just when you think you are making sense of it , something happens that tells you there is no sense .
the entire movie is so formulaic and forgettable that it's hardly over before it begins to fade from memory .
the setting turns out to be more interesting than any of the character dramas , which never reach satisfying conclusions .
as an entertainment destination for the general public , kung pow sets a new benchmark for lameness .
this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine , winds up mired in tear-drenched quicksand .
as pure over-the-top trash , any john waters movie has it beat by a country mile .
wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time .
bigelow offers some flashy twists and turns that occasionally fortify this turgid fable . but for the most part , the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
this film biggest problem ? no laughs .
less-than-compelling documentary of a yiddish theater clan .
that the chuck norris " grenade gag " occurs about 7 times during windtalkers is a good indication of how serious-minded the film is .
viewers are asked so often to suspend belief that were it not for holm's performance , the film would be a total washout .
it's not exactly worth the bucks to expend the full price for a date , but when it comes out on video , it's well worth a rental .
i can't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents . . .
everybody loves a david and goliath story , and this one is told almost entirely from david's point of view .
throw smoochy from the train !
eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you don't care who fires the winning shot .
irwin and his director never come up with an adequate reason why we should pay money for what we can get on television for free .
a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .
cedar somewhat defuses this provocative theme by submerging it in a hoary love triangle .
to paraphrase a line from another dickens' novel , nicholas nickleby is too much like a fragment of an underdone potato .
the actresses may have worked up a back story for the women they portray so convincingly , but viewers don't get enough of that background for the characters to be involving as individuals rather than types .
the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today's hollywood .
an extremely unpleasant film .
a movie just for friday fans , critics be damned . if you already like this sort of thing , this is that sort of thing all over again .
a sincere but dramatically conflicted gay coming-of-age tale .
wait for it to hit cable .
ultimately feels like just one more in the long line of films this year about the business of making movies .
a high-minded snoozer .
nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives .
77 minutes of pokemon may not last 4ever , it just seems like it does . my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it .
the one not-so-small problem with expecting is that the entire exercise has no real point .
a movie you observe , rather than one you enter into .
[at least] moore is a real charmer .
john carlen's script is full of unhappy , two-dimensional characters who are anything but compelling .
labute can't avoid a fatal mistake in the modern era : he's changed the male academic from a lower-class brit to an american , a choice that upsets the novel's exquisite balance and shreds the fabric of the film .
the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .
stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .
unsurprisingly , the way this all works out makes the women look more like stereotypical caretakers and moral teachers , instead of serious athletes .
a film that loses sight of its own story .
adam sandler's eight crazy nights grows on you -- like a rash .
the big-screen scooby makes the silly original cartoon seem smart and well-crafted in comparison .
few of the increasingly far-fetched events that first-time writer-director neil burger follows up with are terribly convincing , which is a pity , considering barry's terrific performance .
gets better after foster leaves that little room .
the movie is as padded as allen's jelly belly .
resident evil isn't a product of its cinematic predecessors so much as an mtv , sugar hysteria , and playstation cocktail .
a rather average action film that benefits from several funny moments supplied by epps .
 . . . unspeakably , unbearably dull , featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted .
resembles a soft porn brian de palma pastiche .
bluto blutarsky , we miss you .
innocuous enough to make even jean-claude van damme look good .
it's a glorified sitcom , and a long , unfunny one at that .
woody allen can write and deliver a one liner as well as anybody . but i had a lot of problems with this movie .
execrable .
devoid of any of the qualities that made the first film so special .
all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .
plotless collection of moronic stunts is by far the worst movie of the year .
however sincere it may be , the rising place never quite justifies its own existence .
parker updates the setting in an attempt to make the film relevant today , without fully understanding what it was that made the story relevant in the first place .
it's sort of a 21st century morality play with a latino hip hop beat . but the second half of the movie really goes downhill .
paxton's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre .
the script becomes lifeless and falls apart like a cheap lawn chair .
the script falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy .
the film starts promisingly , but the ending is all too predictable and far too cliched to really work .
let's issue a moratorium , effective immediately , on treacly films about inspirational prep-school professors and the children they so heartwarmingly motivate .
it's the element of condescension , as the filmmakers look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful .
alternately frustrating and rewarding .
it's impossible to even categorize this as a smutty guilty pleasure .
despite suffering a sense-of-humour failure , the man who wrote rocky does not deserve to go down with a ship as leaky as this .
swinging , the film makes it seem , is not a hobby that attracts the young and fit . or intelligent .
the most memorable moment was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle's walker and toss it at the screen in frustration .
see clockstoppers if you have nothing better to do with 94 minutes . but be warned , you too may feel time has decided to stand still . or that the battery on your watch has died .
suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .
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 .
yes , i have given this movie a rating of zero . but fans of the show should not consider this a diss . consider it 'perfection . '
the cumulative effect of the movie is repulsive and depressing .
children and adults enamored of all things pokemon won't be disappointed .
i don't even care that there's no plot in this antonio banderas-lucy liu faceoff . it's still terrible !
children of the century , though well dressed and well made , ultimately falls prey to the contradiction that afflicts so many movies about writers .
it's not so much a movie as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil' bow wow .
peralta's mythmaking could have used some informed , adult hindsight .
amazingly dopey .
a close-to-solid espionage thriller with the misfortune of being released a few decades too late .
cloaks a familiar anti-feminist equation ( career - kids = misery ) in tiresome romantic-comedy duds .
the good girl is a film in which the talent is undeniable but the results are underwhelming .
just a collection of this and that -- whatever fills time -- with no unified whole .
the animation and game phenomenon that peaked about three years ago is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication .
only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley's flopping dolphin-gasm .
kids who are into this thornberry stuff will probably be in wedgie heaven . anyone else who may , for whatever reason , be thinking about going to see this movie is hereby given fair warning .
mr . soderbergh's direction and visual style struck me as unusually and unimpressively fussy and pretentious .
do you say " hi " to your lover when you wake up in the morning ?
it makes me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
director tom dey demonstrated a knack for mixing action and idiosyncratic humor in his charming 2000 debut shanghai noon , but showtime's uninspired send-up of tv cop show cliches mostly leaves him shooting blanks .
banal and predictable .
'yes , that's right : it's forrest gump , angel of death . '
a wildly erratic drama with sequences that make you wince in embarrassment and others , thanks to the actors , that are quite touching .
while easier to sit through than most of jaglom's self-conscious and gratingly irritating films , it's still tainted by cliches , painful improbability and murky points .
about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces . . . positively dreadful .
a generic international version of a typical american horror film .
 . . . while certainly clever in spots , this too-long , spoofy update of shakespeare's macbeth doesn't sustain a high enough level of invention .
crikey indeed .
lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .
there's a lot of good material here , but there's also a lot of redundancy and unsuccessful crudeness accompanying it .
absurdities and clichés accumulate like lint in a fat man's navel .
if you think it's a riot to see rob schneider in a young woman's clothes , then you'll enjoy the hot chick .
the sheer dumbness of the plot ( other than its one good idea ) and the movie's inescapable air of sleaziness get you down .
strangely comes off as a kingdom more mild than wild .
the next big thing's not-so-big ( and not-so-hot ) directorial debut .
yet another iteration of what's become one of the movies' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally " superior " friends , family . . .
bond-inspired ? certainly . likely to have decades of life as a classic movie franchise ? let's hope not .
this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines .
davis has energy , but she doesn't bother to make her heroine's book sound convincing , the gender-war ideas original , or the comic scenes fly .
surprisingly , considering that baird is a former film editor , the movie is rather choppy .
none of this is very original , and it isn't particularly funny .
 . . . a bland murder-on-campus yawner .
a humorless journey into a philosophical void .
these two are generating about as much chemistry as an iraqi factory poised to receive a un inspector .
responsável direto pelo fracasso 'artístico' de doce lar , o roteirista c . jay cox não consegue sequer aproveitar os pouquíssimos momentos em que escapa da mediocridade .
just as the lousy tarantino imitations have subsided , here comes the first lousy guy ritchie imitation .
a passable romantic comedy , in need of another couple of passes through the word processor .
the movie attempts to mine laughs from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches isn't exactly endearing .
shows holmes has the screen presence to become a major-league leading lady , ( but ) the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that's scarcely a surprise by the time it arrives .
in the book-on-tape market , the film of " the kid stays in the picture " would be an abridged edition
ultimately . . . the movie is too heady for children , and too preachy for adults .
it's just a little too self-satisfied .
clever but not especially compelling .
mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device he has put in service .
a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category : unembarrassing but unmemorable .
labute was more fun when his characters were torturing each other psychologically and talking about their genitals in public .
the movie weighs no more than a glass of flat champagne .
brisk hack job .
the problem with antwone fisher is that it has a screenplay written by antwone fisher based on the book by antwone fisher .
alarms for duvall's throbbing sincerity and his elderly propensity for patting people while he talks .
…the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material .
what little grace [rifkin's] tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics .
tries to work in the same vein as the brilliance of animal house but instead comes closer to the failure of the third revenge of the nerds sequel .
unfortunately , kapur modernizes a . e . w . mason's story to suit the sensibilities of a young american , a decision that plucks " the four feathers " bare .
 . . . what a banal bore the preachy circuit turns out to be
falsehoods pile up , undermining the movie's reality and stifling its creator's comic voice .
a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences .
one of the most incoherent features in recent memory .
low rent from frame one .
eight legged freaks ? no big hairy deal .
the issues are presented in such a lousy way , complete with some of the year's ( unintentionally ) funniest moments , that it's impossible to care .
laggard drama wending its way to an uninspired philosophical epiphany .
the respective charms of sandra bullock and hugh grant have worn threadbare .
'this movie sucks . '
none of this so-called satire has any sting to it , as if woody is afraid of biting the hand that has finally , to some extent , warmed up to him .
 . . . bibbidy-bobbidi-bland .
a few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed , but skeptics aren't likely to enter the theater .
bad in such a bizarre way that it's almost worth seeing , if only to witness the crazy confluence of purpose and taste .
there's more repetition than creativity throughout the movie .
hugh grant's act is so consuming that sometimes it's difficult to tell who the other actors in the movie are .
although the sequel has all the outward elements of the original , the first film's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks .
i've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .
what we get . . . is caddyshack crossed with the loyal order of raccoons .
the jokes are flat , and the action looks fake .
when a movie asks you to feel sorry for mick jagger's sex life , it already has one strike against it .
there are now two signs that m . night shyamalan's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .
 . . . hokey art house pretension .
 . . . a weak and ineffective ghost story without a conclusion or pay off .
gussied up with so many distracting special effects and visual party tricks that it's not clear whether we're supposed to shriek or laugh .
plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .
this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life .
a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you're going to alter the bard's ending , you'd better have a good alternative .
soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable .
the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .
silly stuff , all mixed up together like a term paper from a kid who can't quite distinguish one sci-fi work from another .
there is so much plodding sensitivity .
the town has kind of an authentic feel , but each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial .
 . . . too sappy for its own good .
circuit queens won't learn a thing , they'll be too busy cursing the film's strategically placed white sheets .
as an actress , madonna is one helluva singer . as the mediterranean sparkles , 'swept away' sinks .
every so often a film comes along that is so insanely stupid , so awful in so many ways that watching it leaves you giddy . half past dead is just such an achievement .
expanded to 65 minutes for theatrical release , it still feels somewhat unfinished .
it all looks and plays like a $40 million version of a game you're more likely to enjoy on a computer .
[javier bardem is] one of the few reasons to watch the film , which director gerardo vera has drenched in swoony music and fever-pitched melodrama .
feels shrill , simple and soapy .
adults , other than the parents . . . will be hard pressed to succumb to the call of the wild .
brady achieves the remarkable feat of squandering a topnotch foursome of actors . . . by shoving them into every clichéd white-trash situation imaginable .
in the name of an allegedly inspiring and easily marketable flick , the emperor's club turns a blind eye to the very history it pretends to teach .
no amount of blood and disintegrating vampire cadavers can obscure this movie's lack of ideas .
a direct-to-void release , heading nowhere .
typical animé , with cheapo animation ( like saturday morning tv in the '60s ) , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names .
below is well below expectations .
at no point during k-19 : the widowmaker did this viewer feel enveloped in a story that , though meant to be universal in its themes of loyalty , courage and dedication to a common goal , never seems to leave the lot .
 . . . standard guns versus martial arts cliche with little new added .
empire can't make up its mind whether it wants to be a gangster flick or an art film . it doesn't work as either .
given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube .
possession is in the end an honorable , interesting failure . it falls far short of poetry , but it's not bad prose .
jonathan parker's bartleby should have been the be-all-end-all of the modern-office anomie films .
there may have been a good film in " trouble every day , " but it is not what is on the screen .
unfortunately , carvey's rubber-face routine is no match for the insipid script he has crafted with harris goldberg .
viewed as a comedy , a romance , a fairy tale , or a drama , there's nothing remotely triumphant about this motion picture .
there's something unintentionally comic in the film's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties .
the master of disguise is funny--not " ha ha " funny , " dead circus performer " funny . and for all the wrong reasons besides .
a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks .
a 75-minute sample of puerile rubbish that is listless , witless , and devoid of anything resembling humor .
you leave feeling like you've endured a long workout without your pulse ever racing .
the waterlogged script plumbs uncharted depths of stupidity , incoherence and sub-sophomoric sexual banter .
with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .
it's the type of stunt the academy loves : a powerful political message stuffed into an otherwise mediocre film .
in theory , a middle-aged romance pairing clayburgh and tambor sounds promising , but in practice it's something else altogether -- clownish and offensive and nothing at all like real life .
so mind-numbingly awful that you hope britney won't do it one more time , as far as movies are concerned .
the images are usually abbreviated in favor of mushy obviousness and telegraphed pathos , particularly where whitaker's misfit artist is concerned .
if welles was unhappy at the prospect of the human race splitting in two , he probably wouldn't be too crazy with his great-grandson's movie splitting up in pretty much the same way .
sets animation back 30 years , musicals back 40 years and judaism back at least 50 .
weirdly , broomfield has compelling new material but he doesn't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .
might best be enjoyed as a daytime soaper .
eventually arrives at its heart , as simple self-reflection meditation .
a showcase for both the scenic splendor of the mountains and for legendary actor michel serrault , the film is less successful on other levels .
boy oh boy , it's a howler .
a few pieces of the film buzz and whir ; very little of it actually clicks . the thing just never gets off the ground .
 . . . contains very few laughs and even less surprises .
the actors must indeed be good to recite some of this laughable dialogue with a straight face .
most of the storylines feel like time fillers between surf shots . the movie isn't horrible , but you can see mediocre cresting on the next wave .
however stale the material , lawrence's delivery remains perfect ; his great gift is that he can actually trick you into thinking some of this worn-out , pandering palaver is actually funny .
there's nothing remotely topical or sexy here .
the tuxedo wasn't just bad ; it was , as my friend david cross would call it , 'hungry-man portions of bad' .
blue crush is so prolonged and boring it isn't even close to being the barn-burningly bad movie it promised it would be .
the sequel plays out like a flimsy excuse to give blade fans another look at wesley snipes' iconic hero doing battle with dozens of bad guys -- at once .
while van wilder may not be the worst national lampoon film , it's far from being this generation's animal house .
so devoid of pleasure or sensuality that it cannot even be dubbed hedonistic .
reeks of rot and hack work from start to finish .
an exhausting family drama about a porcelain empire and just as hard a flick as its subject matter .
woody allen has really found his groove these days . the problem is that it is one that allows him to churn out one mediocre movie after another .
the bland outweighs the nifty , and cletis tout never becomes the clever crime comedy it thinks it is .
it's such a mechanical endeavor [that] it never bothers to question why somebody might devote time to see it .
the art direction is often exquisite , and the anthropomorphic animal characters are beautifully realized through clever makeup design , leaving one to hope that the eventual dvd release will offer subtitles and the original italian-language soundtrack .
 if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish .
ultimately , in the history of the academy , people may be wondering what all that jazz was about " chicago " in 2002 . zellweger's whiny pouty-lipped poof faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a
a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .
a pleasant and engaging enough sit , but in trying to have the best of both worlds it ends up falling short as a whole .
its plot and animation offer daytime tv serviceability , but little more .
a tired , unimaginative and derivative variation of that already-shallow genre .
human nature , in short , isn't nearly as funny as it thinks it is ; neither is it as smart .
a film with a great premise but only a great premise .
instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence .
kirshner and monroe seem to be in a contest to see who can out-bad-act the other . ( kirshner wins , but it's close . )
a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .
what started out as a taut contest of wills between bacon and theron , deteriorates into a protracted and borderline silly chase sequence .
[sam's] self-flagellation is more depressing than entertaining .
an ugly , pointless , stupid movie .
simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn .
the master of disguise represents adam sandler's latest attempt to dumb down the universe .
this is an ungainly movie , ill-fitting , with its elbows sticking out where the knees should be .
too silly to take seriously .
obvious
the inevitable double- and triple-crosses arise , but the only drama is in waiting to hear how john malkovich's reedy consigliere will pronounce his next line .
everything's serious , poetic , earnest and -- sadly -- dull .
i like it . no , i hate it . no , i love it . . . hell , i dunno .
this mess of a movie is nothing short of a travesty of a transvestite comedy .
it's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long .
a fifty car pileup of cliches .
it's a stale , overused cocktail using the same olives since 1962 as garnish . not only is entry number twenty the worst of the brosnan bunch , it's one of the worst of the entire franchise .
what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .
as an actor's showcase , hart's war has much to recommend it , even if the top-billed willis is not the most impressive player . as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .
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 .
it's not hateful . it's simply stupid , irrelevant and deeply , truly , bottomlessly cynical .
possibly not since grumpy old men have i heard a film so solidly connect with one demographic while striking out with another .
the drama was so uninspiring that even a story immersed in love , lust , and sin couldn't keep my attention .
a rather tired exercise in nostalgia .
the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten .
some body often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .
bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who aren't looking for them .
predecessors the mummy and the mummy returns stand as intellectual masterpieces next to the scorpion king .
a markedly inactive film , city is conversational bordering on confessional .
while kids will probably eat the whole thing up , most adults will be way ahead of the plot .
its one-sidedness . . . flirts with propaganda .
despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy .
we've liked klein's other work but rollerball left us cold .
they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they'd earn . they were right .
it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction .
offers no new insight on the matter , nor do its characters exactly spring to life .
nohe has made a decent 'intro' documentary , but he feels like a spectator and not a participant .
apparently designed as a reverie about memory and regret , but the only thing you'll regret is remembering the experience of sitting through it .
a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit's classic mistaken identity farce into brutally labored and unfunny hokum .
guy gets girl , guy loses girl , audience falls asleep .
too ordinary to restore [harmon] to prominence , despite some creepy scenes that evoke childish night terrors , and a praiseworthy attempt to generate suspense rather than gross out the audience .
stirs potentially enticing ingredients into an uneasy blend of ghost and close encounters of the third kind .
the weird thing about the santa clause 2 , purportedly a children's movie , is that there is nothing in it to engage children emotionally .
it's pretentious in a way that verges on the amateurish .
contains the humor , characterization , poignancy , and intelligence of a bad sitcom .
it doesn't matter that the film is less than 90 minutes . it still feels like a prison stretch .
partly a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .
ong chooses to present ah na's life as a slight , weightless fairy tale , whose most unpleasant details seem to melt away in the face of the character's blank-faced optimism .
the overall feel is not unlike watching a glorified episode of " 7th heaven . "
just a kiss is a just a waste .
 . . . this isn't even a movie we can enjoy as mild escapism ; it is one in which fear and frustration are provoked to intolerable levels .
frankly , it's kind of insulting , both to men and women . and it's not that funny -- which is just generally insulting .
as if drop dead gorgeous wasn't enough , this equally derisive clunker is fixated on the spectacle of small-town competition .
a wretched movie that reduces the second world war to one man's quest to find an old flame .
this is a remake by the numbers , linking a halfwit plot to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie .
it's better than mid-range steven seagal , but not as sharp as jet li on rollerblades .
no dia em que aceitou dirigir esta continuação , harold ramis deve ter saído da cama com o pé esquerdo . e aqueles que decidiram assistir a este filme também .
there's a reason why halftime is only fifteen minutes long .
the talk-heavy film plays like one of robert altman's lesser works .
as happily glib and vicious as its characters .
one of those films that started with a great premise and then just fell apart .
 . . . a pretentious mess . . .
no better or worse than 'truth or consequences , n . m . ' or any other interchangeable actioner with imbecilic mafia toolbags botching a routine assignment in a western backwater .
a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female set .
[macdowell] ventures beyond her abilities several times here and reveals how bad an actress she is .
i can imagine this movie as a b&w british comedy , circa 1960 , with peter sellers , kenneth williams , et al . , but at this time , with this cast , this movie is hopeless .
talky , artificial and opaque . . . an interesting technical exercise , but a tedious picture .
kurys never shows why , of all the period's volatile romantic lives , sand and musset are worth particular attention .
almost nothing else -- raunchy and graphic as it may be in presentation -- is one-sided , outwardly sexist or mean-spirited . and in a sense , that's a liability .
it's easy to love robin tunney -- she's pretty and she can act -- but it gets harder and harder to understand her choices .
if you've got a house full of tots -- don't worry , this will be on video long before they grow up and you can wait till then .
the new film of anton chekhov's the cherry orchard puts the 'ick' in 'classic . '
has an uppity musical beat that you can dance to , but its energy can't compare to the wit , humor and snappy dialogue of the original . if i want music , i'll buy the soundtrack . if i want a real movie , i'll buy the criterion dvd .
an unremarkable , modern action/comedy buddy movie whose only nod to nostalgia is in the title .
has all the right elements but completely fails to gel together .
writer-director stephen gaghan has made the near-fatal mistake of being what the english call 'too clever by half . '
seagal ran out of movies years ago , and this is just the proof .
the movie is so contrived , nonsensical and formulaic that , come to think of it , the day-old shelf would be a more appropriate location to store it .
an awkwardly garish showcase that diverges from anything remotely probing or penetrating .
the name says it all . jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set .
children , christian or otherwise , deserve to hear the full story of jonah's despair -- in all its agonizing , catch-22 glory -- even if they spend years trying to comprehend it .
pleasant but not more than recycled jock piffle .
 . . . the kind of movie you see because the theater has air conditioning .
with zoe clarke-williams's lackluster thriller " new best friend " , who needs enemies ? just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills .
hip-hop prison thriller of stupefying absurdity .
an uneven mix of dark satire and childhood awakening .
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'
a perfectly acceptable , perfectly bland , competently acted but by no means scary horror movie .
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based 'drama , ' but the emphasis on the latter leaves blue crush waterlogged .
the problem is the needlessly poor quality of its archival prints and film footage . the images lack contrast , are murky and are frequently too dark to be decipherable .
like a soft drink that's been sitting open too long : it's too much syrup and not enough fizz .
as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign . i have returned from the beyond to warn you : this movie is 90 minutes long , and life is too short .
there are some fairly unsettling scenes , but they never succeed in really rattling the viewer .
the emperor's club is one of those films that possesses all the good intentions in the world , but . . .
in the end , the weight of water comes to resemble the kind of soft-core twaddle you'd expect to see on showtime's 'red shoe diaries . '
a straight-ahead thriller that never rises above superficiality .
glizty but formulaic and silly . . . cagney's 'top of the world' has been replaced by the bottom of the barrel .
the re- enactments , however fascinating they may be as history , are too crude to serve the work especially well .
eisenstein lacks considerable brio for a film about one of cinema's directorial giants .
is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?
once again , director chris columbus takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours .
serving sara is little more than a mall movie designed to kill time .
too smart to ignore but a little too smugly superior to like , this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot .
a well-made but emotionally scattered film whose hero gives his heart only to the dog .
the most repugnant adaptation of a classic text since roland joffé and demi moore's the scarlet letter .
the isolated moments of creative insanity finally are lost in the thin soup of canned humor .
as a movie , it never seems fresh and vital . it never plays as dramatic even when dramatic things happen to people . it labours as storytelling .
the adventures of pluto nash is a whole lot of nada .
a really good premise is frittered away in middle-of-the-road blandness .
lawrence should stick to his day job . he's a better actor than a standup comedian .
despite the fact that this film wasn't as bad as i thought it was going to be , it's still not a good movie
a well made indieflick in need of some trims and a more chemistry between its stars .
i never thought i'd say this , but i'd much rather watch teens poking their genitals into fruit pies !
a film neither bitter nor sweet , neither romantic nor comedic , neither warm nor fuzzy .
tiresomely derivative and hammily acted .
we never truly come to care about the main characters and whether or not they'll wind up together , and michele's spiritual quest is neither amusing nor dramatic enough to sustain interest .
the plot grows thin soon , and you find yourself praying for a quick resolution .
too bad maggio couldn't come up with a better script .
much of the cast is stiff or just plain bad .
rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories .
at best , cletis tout might inspire a trip to the video store -- in search of a better movie experience .
witless , pointless , tasteless and idiotic .
not really a thriller so much as a movie for teens to laugh , groan and hiss at .