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the rock is destined to be the 21st century's new " conan " and that he's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal .
the gorgeously elaborate continuation of " the lord of the rings " trilogy is so huge that a column of words cannot adequately describe co-writer/director peter jackson's expanded vision of j . r . r . tolkien's middle-earth .
effective but too-tepid biopic
if you sometimes like to go to the movies to have fun , wasabi is a good place to start .
emerges as something rare , an issue movie that's so honest and keenly observed that it doesn't feel like one .
the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game .
offers that rare combination of entertainment and education .
perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .
steers turns in a snappy screenplay that curls at the edges ; it's so clever you want to hate it . but he somehow pulls it off .
take care of my cat offers a refreshingly different slice of asian cinema .
this is a film well worth seeing , talking and singing heads and all .
what really surprises about wisegirls is its low-key quality and genuine tenderness .
 ( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind .
one of the greatest family-oriented , fantasy-adventure movies ever .
ultimately , it ponders the reasons we need stories so much .
an utterly compelling 'who wrote it' in which the reputation of the most famous author who ever lived comes into question .
illuminating if overly talky documentary .
a masterpiece four years in the making .
the movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries .
offers a breath of the fresh air of true sophistication .
a thoughtful , provocative , insistently humanizing film .
with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives .
a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass .
not for everyone , but for those with whom it will connect , it's a nice departure from standard moviegoing fare .
scores a few points for doing what it does with a dedicated and good-hearted professionalism .
occasionally melodramatic , it's also extremely effective .
spiderman rocks
an idealistic love story that brings out the latent 15-year-old romantic in everyone .
at about 95 minutes , treasure planet maintains a brisk pace as it races through the familiar story .
however , it lacks grandeur and that epic quality often associated with stevenson's tale as well as with earlier disney efforts .
it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid .
guaranteed to move anyone who ever shook , rattled , or rolled .
a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview .
light , cute and forgettable .
if there's a way to effectively teach kids about the dangers of drugs , i think it's in projects like the ( unfortunately r-rated ) paid .
while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy .
though everything might be literate and smart , it never took off and always seemed static .
cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days
ms . fulford-wierzbicki is almost spooky in her sulky , calculating lolita turn .
though it is by no means his best work , laissez-passer is a distinguished and distinctive effort by a bona-fide master , a fascinating film replete with rewards to be had by all willing to make the effort to reap them .
like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike . a heavy reliance on cgi technology is beginning to creep into the series .
newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg .
the story loses its bite in a last-minute happy ending that's even less plausible than the rest of the picture . much of the way , though , this is a refreshingly novel ride .
fuller would surely have called this gutsy and at times exhilarating movie a great yarn .
'compleja e intelectualmente retadora , el ladrón de orquídeas es uno de esos filmes que vale la pena ver precisamente por su originalidad . '
the film makes a strong case for the importance of the musicians in creating the motown sound .
karmen moves like rhythm itself , her lips chanting to the beat , her long , braided hair doing little to wipe away the jeweled beads of sweat .
gosling provides an amazing performance that dwarfs everything else in the film .
a real movie , about real people , that gives us a rare glimpse into a culture most of us don't know .
tender yet lacerating and darkly funny fable .
may be spoofing an easy target -- those old '50's giant creature features -- but . . . it acknowledges and celebrates their cheesiness as the reason why people get a kick out of watching them today .
an engaging overview of johnson's eccentric career .
in its ragged , cheap and unassuming way , the movie works .
some actors have so much charisma that you'd be happy to listen to them reading the phone book . hugh grant and sandra bullock are two such likeable actors .
sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open .
behind the snow games and lovable siberian huskies ( plus one sheep dog ) , the picture hosts a parka-wrapped dose of heart .
everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse .
manages to be original , even though it rips off many of its ideas .
singer/composer bryan adams contributes a slew of songs — a few potential hits , a few more simply intrusive to the story — but the whole package certainly captures the intended , er , spirit of the piece .
you'd think by now america would have had enough of plucky british eccentrics with hearts of gold . yet the act is still charming here .
whether or not you're enlightened by any of derrida's lectures on " the other " and " the self , " derrida is an undeniably fascinating and playful fellow .
a pleasant enough movie , held together by skilled ensemble actors .
this is the best american movie about troubled teens since 1998's whatever .
disney has always been hit-or-miss when bringing beloved kids' books to the screen . . . tuck everlasting is a little of both .
just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing .
the animated subplot keenly depicts the inner struggles of our adolescent heroes - insecure , uncontrolled , and intense .
the invincible werner herzog is alive and well and living in la
morton is a great actress portraying a complex character , but morvern callar grows less compelling the farther it meanders from its shocking start .
part of the charm of satin rouge is that it avoids the obvious with humour and lightness .
son of the bride may be a good half-hour too long but comes replete with a flattering sense of mystery and quietness .
a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them .
a taut , intelligent psychological drama .
a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her .
a truly moving experience , and a perfect example of how art -- when done right -- can help heal , clarify , and comfort .
this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director .
at heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance .
the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible !
a screenplay more ingeniously constructed than " memento "
if this movie were a book , it would be a page-turner , you can't wait to see what happens next .
haneke challenges us to confront the reality of sexual aberration .
absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way .
it's the best film of the year so far , the benchmark against which all other best picture contenders should be measured .
painful to watch , but viewers willing to take a chance will be rewarded with two of the year's most accomplished and riveting film performances .
this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border .
an imaginative comedy/thriller .
a few artsy flourishes aside , narc is as gritty as a movie gets these days .
while the isle is both preposterous and thoroughly misogynistic , its vistas are incredibly beautiful to look at .
together , tok and o orchestrate a buoyant , darkly funny dance of death . in the process , they demonstrate that there's still a lot of life in hong kong cinema .
director kapur is a filmmaker with a real flair for epic landscapes and adventure , and this is a better film than his earlier english-language movie , the overpraised elizabeth .
the movie is a blast of educational energy , as bouncy animation and catchy songs escort you through the entire 85 minutes .
a sports movie with action that's exciting on the field and a story you care about off it .
doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie's spycraft and uses damon's ability to be focused and sincere .
the tenderness of the piece is still intact .
katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself
like the film's almost anthropologically detailed realization of early-'80s suburbia , it's significant without being overstated .
while mcfarlane's animation lifts the film firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story .
if nothing else , this movie introduces a promising , unusual kind of psychological horror .
in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel . but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography .
writer-director burger imaginatively fans the embers of a dormant national grief and curiosity that has calcified into chronic cynicism and fear .
 . . . a roller-coaster ride of a movie
i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory .
chicago is sophisticated , brash , sardonic , completely joyful in its execution .
steve irwin's method is ernest hemmingway at accelerated speed and volume .
a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters .
on the surface , it's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz's and kieslowski's earlier work , films like the double life of veronique .
the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure .
if it's possible for a sequel to outshine the original , then sl2 does just that .
a romantic comedy that operates by the rules of its own self-contained universe .
4 friends , 2 couples , 2000 miles , and all the pabst blue ribbon beer they can drink - it's the ultimate redneck road-trip .
the film is often filled with a sense of pure wonderment and excitement not often seen in today's cinema du sarcasm
it might be tempting to regard mr . andrew and his collaborators as oddballs , but mr . earnhart's quizzical , charming movie allows us to see them , finally , as artists .
a feel-good picture in the best sense of the term .
edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery .
a mostly intelligent , engrossing and psychologically resonant suspenser .
it's this memory-as-identity obviation that gives secret life its intermittent unease , reaffirming that long-held illusions are indeed reality , and that erasing them recasts the self .
hip-hop has a history , and it's a metaphor for this love story .
in scope , ambition and accomplishment , children of the century . . . takes kurys' career to a whole new level .
this may not have the dramatic gut-wrenching impact of other holocaust films , but it's a compelling story , mainly because of the way it's told by the people who were there .
between the drama of cube ? s personal revelations regarding what the shop means in the big picture , iconic characters gambol fluidly through the story , with charming results .
a gentle , compassionate drama about grief and healing .
somewhere short of tremors on the modern b-scene : neither as funny nor as clever , though an agreeably unpretentious way to spend ninety minutes .
digital-video documentary about stand-up comedians is a great glimpse into a very different world .
unlike most teen flicks , swimming takes its time to tell its story , casts mostly little-known performers in key roles , and introduces some intriguing ambiguity .
an enthralling , playful film that constantly frustrates our desire to know the 'truth' about this man , while deconstructing the very format of the biography in a manner that derrida would doubtless give his blessing to .
 " extreme ops " exceeds expectations . good fun , good action , good acting , good dialogue , good pace , good cinematography .
you should pay nine bucks for this : because you can hear about suffering afghan refugees on the news and still be unaffected . dramas like this make it human .
a thunderous ride at first , quiet cadences of pure finesse are few and far between ; their shortage dilutes the potency of otherwise respectable action . still , this flick is fun , and host to some truly excellent sequences .
it's obviously struck a responsive chord with many south koreans , and should work its magic in other parts of the world .
run , don't walk , to see this barbed and bracing comedy on the big screen .
a classy item by a legend who may have nothing left to prove but still has the chops and drive to show how its done .
it is nature against progress . in fessenden's horror trilogy , this theme has proved important to him and is especially so in the finale .
it's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru .
this is what imax was made for : strap on a pair of 3-d goggles , shut out the real world , and take a vicarious voyage to the last frontier -- space .
merely as a technical , logistical feat , russian ark marks a cinematic milestone .
[schweiger is] talented and terribly charismatic , qualities essential to both movie stars and social anarchists .
it's a great deal of sizzle and very little steak . but what spectacular sizzle it is ! . . . in this incarnation its fizz is infectious .
an original gem about an obsession with time .
it will delight newcomers to the story and those who know it from bygone days .
gloriously goofy ( and gory ) midnight movie stuff .
the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity .
if your senses haven't been dulled by slasher films and gorefests , if you're a connoisseur of psychological horror , this is your ticket .
it's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene .
it is intensely personal and yet -- unlike quills -- deftly shows us the temper of the times .
as lo-fi as the special effects are , the folks who cobbled nemesis together indulge the force of humanity over hardware in a way that george lucas has long forgotten .
like mike doesn't win any points for originality . it does succeed by following a feel-good formula with a winning style , and by offering its target audience of urban kids some welcome role models and optimism .
it's a hoot and a half , and a great way for the american people to see what a candidate is like when he's not giving the same 15-cent stump speech .
far from perfect , but its heart is in the right place . . . innocent and well-meaning .
a sad , superior human comedy played out on the back roads of life .
waydowntown is by no means a perfect film , but its boasts a huge charm factor and smacks of originality .
tim allen is great in his role but never hogs the scenes from his fellow cast , as there are plenty of laughs and good lines for everyone in this comedy .
more a load of enjoyable , conan-esque claptrap than the punishing , special-effects soul assaults the mummy pictures represent .
enormously likable , partly because it is aware of its own grasp of the absurd .
here's a british flick gleefully unconcerned with plausibility , yet just as determined to entertain you .
it's an old story , but a lively script , sharp acting and partially animated interludes make just a kiss seem minty fresh .
must be seen to be believed .
ray liotta and jason patric do some of their best work in their underwritten roles , but don't be fooled : nobody deserves any prizes here .
everything that has to do with yvan and charlotte , and everything that has to do with yvan's rambunctious , jewish sister and her non-jew husband , feels funny and true .
sweet home alabama " is what it is – a nice , harmless date film . . .
the year's happiest surprise , a movie that deals with a real subject in an always surprising way .
fans of behan's work and of irish movies in general will be rewarded by borstal boy .
its mysteries are transparently obvious , and it's too slowly paced to be a thriller . [but it's] worth recommending because of two marvelous performances by michael caine and brendan fraser .
the film is faithful to what one presumes are the book's twin premises -- that we become who we are on the backs of our parents , but we have no idea who they were at our age ; and that time is a fleeting and precious commodity no matter how old you are .
stephen earnhart's homespun documentary mule skinner blues has nothing but love for its posse of trailer park denizens .
a solidly seaworthy chiller .
if you can get past the fantastical aspects and harsh realities of " the isle " you'll get a sock-you-in-the-eye flick that is a visual tour-de-force and a story that is unlike any you will likely see anywhere else .
there are as many misses as hits , but ultimately , it finds humor in the foibles of human behavior , and it's a welcome return to the roots of a genre that should depend on surprises .
a well-made thriller with a certain level of intelligence and non-reactionary morality .
there's enough science to make it count as educational , and enough beauty to make it unforgettable .
remains a solid , if somewhat heavy-handed , account of the near-disaster . . . done up by howard with a steady , if not very imaginative , hand .
makmalbaf follows a resolutely realistic path in this uncompromising insight into the harsh existence of the kurdish refugees of iran's borderlands .
for a good chunk of its running time , trapped is an effective and claustrophobic thriller .
most of crush is a clever and captivating romantic comedy with a welcome pinch of tartness .
nair does capture the complexity of a big family and its trials and tribulations . . .
the seaside splendor and shallow , beautiful people are nice to look at while you wait for the story to get going .
rare is the 'urban comedy' that even attempts the insight and honesty of this disarming indie .
ranks among willams' best screen work .
engagingly captures the maddening and magnetic ebb and flow of friendship .
an experience so engrossing it is like being buried in a new environment .
it's traditional moviemaking all the way , but it's done with a lot of careful period attention as well as some very welcome wit .
thoroughly enjoyable .
maybe it's just because this past year has seen the release of some of the worst film comedies in decades . . . but honestly , analyze that really isn't all that bad .
a droll , well-acted , character-driven comedy with unexpected deposits of feeling .
this is simply the most fun you'll ever have with a documentary !
a very funny movie .
watching haneke's film is , aptly enough , a challenge and a punishment . but watching huppert , a great actress tearing into a landmark role , is riveting .
a cop story that understands the medium amazingly well .
one of the best , most understated performances of [jack nicholson's] career .
britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway .
those outside show business will enjoy a close look at people they don't really want to know .
the kind of nervous film that will either give you a mild headache or exhilarate you .
watching beanie and his gang put together his slasher video from spare parts and borrowed materials is as much fun as it must have been for them to make it .
children may not understand everything that happens -- i'm not sure even miyazaki himself does -- but they will almost certainly be fascinated , and undoubtedly delighted .
a fascinating and fun film .
tadpole is a sophisticated , funny and good-natured treat , slight but a pleasure .
this insightful , oscar-nominated documentary , in which children on both sides of the ever-escalating conflict have their say away from watchful parental eyes , gives peace yet another chance .
i admired this work a lot .
whether you're moved and love it , or bored or frustrated by the film , you'll still feel something .
 . . . there are enough moments of heartbreaking honesty to keep one glued to the screen .
my goodness , queen latifah has a lot to offer and she seemed to have no problem flaunting her natural gifts . she must have a very strong back .
a smart , sweet and playful romantic comedy .
australian actor/director john polson and award-winning english cinematographer giles nuttgens make a terrific effort at disguising the obvious with energy and innovation .
without heavy-handedness , dong provides perspective with his intelligent grasp of human foibles and contradictions .
solid , lump-in-the-throat family entertainment that derives its power by sticking to the facts .
as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .
it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .
it won't bust your gut -- and it's not intended to -- it's merely a blandly cinematic surgical examination of what makes a joke a joke .
a somewhat crudely constructed but gripping , questing look at a person so racked with self-loathing , he becomes an enemy to his own race .
it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .
narc may not get an 'a' for originality , but it wears its b-movie heritage like a badge of honor .
with the film's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved .
[drumline] is entertaining for what it does , and admirable for what it doesn't do .
at its best early on as it plays the culture clashes between the brothers .
[a] rare , beautiful film .
an unabashedly schmaltzy and thoroughly enjoyable true story .
a thoughtful look at a painful incident that made headlines in 1995 .
you walk out of the good girl with mixed emotions — disapproval of justine combined with a tinge of understanding for her actions .
tsai ming-liang has taken his trademark style and refined it to a crystalline point .
purely propaganda , a work of unabashed hero worship , it is nonetheless -- and likely inadvertently -- a timely and invaluable implicit reminder of the role that u . s . foreign policy has played in the rise of castro .
now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism .
we get some truly unique character studies and a cross-section of americana that hollywood couldn't possibly fictionalize and be believed .
though this film can be clumsy , its ambitions are equally -- and admirably -- uncommercial .
daring , mesmerizing and exceedingly hard to forget .
the dangerous lives of altar boys' take on adolescence feels painfully true .
moore's performance impresses almost as much as her work with haynes in 1995's safe .
visits spy-movie territory like a novel you can't put down , examines a footnote to history seldom brought to light on the screen , and keeps you guessing from first frame to last .
an absorbing , slice-of-depression life that touches nerves and rings true .
mr . parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom .
the result is something quite fresh and delightful .
all but the most persnickety preteens should enjoy this nonthreatening but thrilling adventure .
despite its many infuriating flaws -- not the least of which is amy's self-absorbed personality -- amy's o's honesty will win you over .
this is one of polanski's best films .
day is not a great bond movie , but it is a good bond movie , which still makes it much better than your typical bond knock-offs .
polished korean political-action film is just as good -- and bad -- as hollywood action epics . is this progress ?
elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone .
denis and co-writer michele petin's impeccable screenplay penetrates with a rawness that that is both unflinching and tantalizing . lead provocatuers testud and parmentier give superlative performances
an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood .
i admired it , particularly that unexpected downer of an ending .
the passions aroused by the discord between old and new cultures are set against the strange , stark beauty of the mideast desert , so lovingly and perceptively filmed that you can almost taste the desiccated air .
remarkably accessible and affecting .
never mind whether you buy the stuff about barris being a cia hit man . the kooky yet shadowy vision clooney sustains throughout is daring , inventive and impressive .
a triumph of art direction over narrative , but what art direction !
behan himself knew how to spin a tale and one can't help but think he'd appreciate this attempt to turn his life into art .
jirí hubac's script is a gem .
his characters are engaging , intimate and the dialogue is realistic and greatly moving .
the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .
moore's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that's still very much playing itself out .
the additional storyline is interesting and entertaining , but it doesn't have the same magical quality as the beginning of the story . i like the new footage and still love the old stuff .
though mama takes a bit too long to find its rhythm and a third-act plot development is somewhat melodramatic , its ribald humor and touching nostalgia are sure to please anyone in search of a jules and jim for the new millennium .
you might not buy the ideas . but you'll definitely want the t-shirt .
provides an intriguing window into the imagination and hermetic analysis of todd solondz .
windtalkers is shapelessly gratifying , the kind of movie that invites you to pick apart its faults even as you have to admit that somehow it hit you where you live .
presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it .
just what makes us happy , anyway ?
a thoughtful , moving piece that faces difficult issues with honesty and beauty .
one of the greatest romantic comedies of the past decade .
you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's good and horrid .
benefits from a strong performance from zhao , but it's dong jie's face you remember at the end .
this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever .
the director , steven shainberg , has succeeded by focusing intently on his characters , making them quirky individuals rather than figures of fun .
it ultimately stands forth as an important chronicle of the abuses of one of latin america's most oppressive regimes .
the movie has a soft , percolating magic , a deadpan suspense .
a well-made and often lovely depiction of the mysteries of friendship .
using his audience as a figurative port-of-call , dong pulls his even-handed ideological ship to their dock for unloading , before he continues his longer journey still ahead .
 . . . understands that a generation defines its music as much as the music defines a generation .
the transporter is as lively and as fun as it is unapologetically dumb
as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos' memories and insights .
has it ever been possible to say that williams has truly inhabited a character ? it is now .
by presenting an impossible romance in an impossible world , pumpkin dares us to say why either is impossible -- which forces us to confront what's possible and what we might do to make it so .
an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video .
an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy
all the performances are top notch and , once you get through the accents , all or nothing becomes an emotional , though still positive , wrench of a sit .
 " its successes are also tempered with elements which prove the direct antithesis of what it gets right . "
it's solid and affecting and exactly as thought-provoking as it should be .
this is such a dazzlingly self-assured directorial debut that it's hard to know what to praise first .
parker holds true to wilde's own vision of a pure comedy with absolutely no meaning , and no desire to be anything but a polished , sophisticated entertainment that is in love with its own cleverness .
münch's genuine insight makes the film's occasional overindulgence forgivable .
thankfully , the film , which skirts that rapidly deteriorating line between fantasy and reality . . . takes a tongue-in-cheek attitude even as it pushes the croc hunter agenda .
ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis .
if you're like me , a sucker for a good old fashion romance and someone who shamelessly loves to eat , then mostly martha offers all the perfect ingredients to more than satisfy your appetite .
the film has just enough of everything -- re-enactments , archival footage , talking-head interviews -- and the music is simply sublime .
there are a few stabs at absurdist comedy . . . but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty .
a wonderful character-based comedy .
it would be interesting to hear from the other side , but in talk to her , the women are down for the count .
an endearingly offbeat romantic comedy with a great meet-cute gimmick .
the unique tug-of-war with viewer expectations is undeniable , if not a pleasure in its own right .
it uses an old-time formula , it's not terribly original and it's rather messy -- but you just have to love the big , dumb , happy movie my big fat greek wedding .
it's almost impossible not to be moved by the movie's depiction of sacrifice and its stirring epilogue in post-soviet russia .
who knows what exactly godard is on about in this film , but his words and images don't have to add up to mesmerize you .
the tone is balanced , reflective and reasonable .
the principals in this cast are all fine , but bishop and stevenson are standouts .
it could change america , not only because it is full of necessary discussion points , but because it is so accessible that it makes complex politics understandable to viewers looking for nothing but energetic entertainment .
what's most striking about this largely celebratory film . . . is the sense of isolation that permeates these bastions of individuality in an ikea world .
 . . . if you're in a mind set for goofy comedy , the troopers will entertain with their gross outs , bawdy comedy and head games .
somewhat blurred , but kinnear's performance is razor sharp .
as a director , mr . ratliff wisely rejects the temptation to make fun of his subjects .
for anyone who remembers the '60s or is interested in one man's response to stroke , ram dass : fierce grace is worth seeking out .
intriguing and beautiful film , but those of you who read the book are likely to be disappointed .
the new guy does have a heart . now , if it only had a brain .
a savvy exploration of paranoia and insecurity in america's culture of fear .
legendary irish writer brendan behan's memoir , borstal boy , has been given a loving screen transferral .
the film's greatest asset is how much it's not just another connect-the-dots , spy-on-the-run picture .
this clever caper movie has twists worthy of david mamet and is enormous fun for thinking audiences .
it's one of the saddest films i have ever seen that still manages to be uplifting but not overly sentimental .
morton is , as usual , brilliant .
even with all those rough edges safely sanded down , the american insomnia is still pretty darned good .
i don't know precisely what to make of steven soderbergh's full frontal , though that didn't stop me from enjoying much of it .
the tug of war that ensues is as much a snapshot of modern china in microcosm as it is a crash course in movie mythology .
nearly surreal , dabbling in french , this is no simple movie , and you'll be taking a risk if you choose to see it . i enjoyed the ride ( bumps and all ) , creamy depth , and ultimate theme .
you could say that it's slow at times , you could say that a few of the characters act in ways that real people wouldn't , but one thing you couldn't say is that alias betty is predictable .
asia authors herself as anna battista , an italian superstar and aspiring directress who just happens to be her own worst enemy .
roman coppola may never become the filmmaker his dad was , but heck – few filmmakers will . but based on cq , i'll certainly be keeping an eye out for his next project .
an amusing , breezily apolitical documentary about life on the campaign trail .
high on melodrama . but it's emotionally engrossing , too , thanks to strong , credible performances from the whole cast .
finally , a genre movie that delivers -- in a couple of genres , no less .
it's not so much enjoyable to watch as it is enlightening to listen to new sides of a previous reality , and to visit with some of the people who were able to make an impact in the theater world .
spielberg is the rare director who does not want to invite viewers to gawk at or applaud his special effects . he just wants them to be part of the action , the wallpaper of his chosen reality . here , thankfully , they are .
post 9/11 the philosophical message of " personal freedom first " might not be as palatable as intended .
hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love .
this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wanna have fun into a rousing treatise of sensual empowerment .
easier to respect than enthuse over , andersson's rigorous personal vision is not only distanced but distancing .
girls gone wild and gone civil again
 . . . tunney is allowed to build an uncommonly human character , an almost real-live girl complete with trouble and hope .
while this film is not in the least surprising , it is still ultimately very satisfying . think of it as a sort of comfort food for the mind .
clever , brutal and strangely soulful movie .
 . . . always remains movingly genuine .
an intelligent fiction about learning through cultural clash .
will grab your children by the imagination and amaze them and amuse them .
a remarkable 179-minute meditation on the nature of revolution .
those who would follow haneke on his creepy explorations . . . are rewarded by brutal , committed performances from huppert and magimel .
an involving true story of a chinese actor who takes up drugs and winds up in an institution--acted mostly by the actual people involved .
hands down the year's most thought-provoking film . but it pays a price for its intricate intellectual gamesmanship .
it's a terrific american sports movie and dennis quaid is its athletic heart .
this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak .
compelling revenge thriller , though somewhat weakened by a miscast leading lady .
it's amazingly perceptive in its subtle , supportive but unsentimental look at the marks family .
a whole lot foul , freaky and funny .
family fare .
attal mixes comedy with a serious exploration of ego and jealousy within a seemingly serene marriage .
the diversity of the artists represented , both in terms of style and ethnicity , prevents the proceedings from feeling repetitious , as does the appropriately brief 40-minute running time .
the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain .
foster nails the role , giving a tight , focused performance illuminated by shards of feeling .
even if you can't pronounce " gyro " correctly , you'll appreciate much of vardalos' humor , which transcends ethnic boundaries .
is office work really as alienating as 'bartleby' so effectively makes it ?
farrell . . . thankfully manages to outshine the role and successfully plays the foil to willis's world-weary colonel .
audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film's tart , sugar-free wit .
bennett's dramatization of her personal descent into post-breakup perdition has a morbid appeal that's tough to shake .
an intriguing and entertaining introduction to johnson .
as expected , sayles' smart wordplay and clever plot contrivances are as sharp as ever , though they may be overshadowed by some strong performances .
a model of what films like this should be like .
as weber and weissman demonstrate with such insight and celebratory verve , the cockettes weren't as much about gender , sexual preference or political agitprop as they were simply a triumph of the indomitable human will to rebel , connect and create .
yeah , these flicks are just that damn good . isn't it great ?
an unbelievably fun film just a leading man away from perfection .
over-the-top and a bit ostentatious , this is a movie that's got oodles of style and substance .
 . . . a poignant and powerful narrative that reveals that reading writing and arithmetic are not the only subjects to learn in life .
nicely serves as an examination of a society in transition .
boisterous , heartfelt comedy .
a tender and touching drama , based on the true story of a troubled african-american's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle .
as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [sex and lucía] makes for an arousing good time .
absorbing character study by andré turpin .
celebrated at sundance , this slight comedy of manners has winning performances and a glossy , glib charm that's hard to beat .
renner's performance as dahmer is unforgettable , deeply absorbing .
if no one singles out any of these performances as award-worthy , it's only because we would expect nothing less from this bunch .
if you love reading and/or poetry , then by all means check it out . you'll probably love it .
though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance .
energetic and boldly provocative .
star wars is back in a major way .
it's a movie -- and an album -- you won't want to miss .
it's rare to find a film that dazzles the eye , challenges the brain , and satisfies our lust for fast-paced action , but minority report delivers all that and a whole lot more .
while not all transitions to adulthood are so fraught , there's much truth and no small amount of poetry in girls can't swim .
if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic .
jacquot's tosca is a treat .
by the end of no such thing the audience , like beatrice , has a watchful affection for the monster .
if you liked such movies as notting hill , four weddings and a funeral , bridget jones' diary or high fidelity , then you won't want to miss about a boy .
 . . . the gentle melding of drama and comedy makes " what time is it there ? " something the true film buff will enjoy .
romanek keeps the film constantly taut . . . reflecting the character's instability with a metaphorical visual style and an unnerving , heartbeat-like score .
i whole-heartedly recommend that everyone see this movie-- for its historical significance alone .
hey , who else needs a shower ?
longley has constructed a remarkably coherent , horrifically vivid snapshot of those turbulent days .
although it bangs a very cliched drum at times , this crowd-pleaser's fresh dialogue , energetic music , and good-natured spunk are often infectious .
often gruelling and heartbreaking to witness , but seldahl and wollter's sterling performances raise this far above the level of the usual maudlin disease movie .
go see it and enjoy .
the stunning , dreamlike visuals will impress even those viewers who have little patience for euro-film pretension .
george clooney proves he's quite a talented director and sam rockwell shows us he's a world-class actor with confessions of a dangerous mind .
there's a vastness implied in metropolis that is just breathtaking .
murderous maids may well be the most comprehensive of these films and also strike closest to the truth .
the people in dogtown and z-boys are so funny , aggressive and alive , you have to watch them because you can't wait to see what they do next .
as green-guts monster movies go , it's a beaut .
as bundy , michael reilly burke ( octopus 2 : river of fear ) has just the right amount of charisma and menace .
a deceivingly simple film , one that grows in power in retrospect .
ana is a vivid , vibrant individual and the movie's focus upon her makes it successful and accessible .
a slick , skillful little horror film .
a very witty take on change , risk and romance , and the film uses humour to make its points about acceptance and growth .
[anderson] uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense .
bubba ho-tep is a wonderful film with a bravura lead performance by bruce campbell that doesn't deserve to leave the building until everyone is aware of it .
despite the long running time , the pace never feels slack -- there's no scene that screams " bathroom break ! "
bullock does a good job here of working against her natural likability .
a film of precious increments artfully camouflaged as everyday activities .
kinnear gives a tremendous performance .
the best movie of its kind since 'brazil . ' lucas , take notes . this is how you use special effects .
 " frailty " has been written so well , that even a simple " goddammit ! " near the end takes on a whole other meaning .
one hour photo is an intriguing snapshot of one man and his delusions ; it's just too bad it doesn't have more flashes of insight .
kaufman creates an eerie sense of not only being there at the time of these events but the very night matthew was killed .
chalk it up to my adoration for both de niro and murphy , but i had a pretty good time with this movie - despite its myriad flaws .
its scenes and sensibility are all more than familiar , but it exudes a kind of nostalgic spy-movie charm and , at the same time , is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time .
it represents better-than-average movie-making that doesn't demand a dumb , distracted audience .
a charming yet poignant tale of the irrevocable ties that bind .
an enchanting spectacular for potter fans anxious to ride the hogwarts express toward a new year of magic and mischief .
the talents of the actors helps " moonlight mile " rise above its heart-on-its-sleeve writing .
it's a humble effort , but spiced with wry humor and genuine pathos , especially between morgan and redgrave .
this examination of aquatic life off the shores of the baja california peninsula of mexico offers an engrossing way to demonstrate the virtues of the imax format .
dark and disturbing , but also surprisingly funny .
the movie has an avalanche of eye-popping visual effects .
starts off with a bang , but then fizzles like a wet stick of dynamite at the very end . it's still worth a look .
most impressive , though , is the film's open-ended finale that refuses to entirely close its characters' emotional wounds .
a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time .
grenier is terrific , bringing an unforced , rapid-fire delivery to toback's heidegger- and nietzsche-referencing dialogue .
 . . . a polished and relatively sincere piece of escapism .
the story wraps back around on itself in the kind of elegant symmetry that's rare in film today , but be warned : it's a slow slog to get there .
the whole cast looks to be having so much fun with the slapstick antics and silly street patois , tossing around obscure expressions like bellini and mullinski , that the compact 86 minutes breezes by .
 . . . has freaky scenes where the crew wonder if they're ghosts imagining themselves as alive . it's a sly wink to the others without becoming a postmodern joke , made creepy by its " men in a sardine can " warped logic .
long after you leave justine , you'll be wondering what will happen to her and wishing her the best -- whatever that might mean .
still pretentious and filled with subtext , but entertaining enough at 'face value' to recommend to anyone looking for something different .
call me a wimp , but i cried , not once , but three times in this animated sweet film .
notorious c . h . o . has oodles of vulgar highlights .
an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u . s . relocation camps to keep their hopes alive in 1975 .
the level of maturity displayed by this 33-year-old first-time feature director is astonishing , considering her inexperience and her subject matter .
a splendid entertainment , young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience .
disney's live-action division has a history of releasing cinematic flotsam , but this is one occasion when they have unearthed a rare gem .
if the message seems more facile than the earlier films , the images have such a terrible beauty you may not care .
whether kiss is a future cult classic or destined to be completely forgotten is open to question , but the risk-takers in the crowd should check it out and form their own opinion .
there are moments in this account of the life of artist frida kahlo that are among cinema's finest this year . unfortunately , they're sandwiched in between the most impossibly dry account of kahlo's life imaginable .
there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way .
stay clear of reminding yourself that it's a " true story " and you're likely to have one helluva time at the movies .
there are just enough twists in the tale to make it far more satisfying than almost any horror film in recent memory .
the sundance film festival has become so buzz-obsessed that fans and producers descend upon utah each january to ferret out the next great thing . 'tadpole' was one of the films so declared this year , but it's really more of the next pretty good thing .
working from elliott's memoir , rohmer fashions the sort of delicate , articulate character- and- relationship study he's favored for decades .
the story feels more like a serious read , filled with heavy doses of always enticing sayles dialogue .
when it really counts . . . bloody sunday connects on a visceral level that transcends language .
the crime matters less than the characters , although the filmmakers supply enough complications , close calls and double-crosses to satisfy us .
[an] hilarious romantic comedy .
the actors are fantastic . they are what makes it worth the trip to the theatre .
ranging from funny to shattering and featuring some of the year's best acting , personal velocity gathers plenty of dramatic momentum .
i complain all the time about seeing the same ideas repeated in films over and over again , but the bourne identity proves that a fresh take is always possible .
recalls quiet freak-outs like l'avventura and repulsion .
only an epic documentary could get it all down , and spike lee's jim brown : all american at long last gives its subject a movie worthy of his talents .
 . . . as the story congeals you feel the pieces of the star wars saga falling into place in a way that makes your spine tingle with revelation and excitement .
a great comedy filmmaker knows great comedy needn't always make us laugh . tim story's not there yet - but 'barbershop' shows he's on his way .
the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon .
lends itself to the narcotizing bland ( sinister , though not nearly so sinister as the biennial disney girl movie ) machinations of the biennial disney boy movie .
well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull .
jason x has cheesy effects and a hoary plot , but its macabre , self-deprecating sense of humor makes up for a lot .
[taymor] utilizes the idea of making kahlo's art a living , breathing part of the movie , often catapulting the artist into her own work . this isn't a new idea . it's been done before but never so vividly or with so much passion .
an impressive if flawed effort that indicates real talent .
two generations within one family test boundaries in this intelligent and restrained coming-of-age drama .
it sounds sick and twisted , but the miracle of shainberg's film is that it truly is romance
disturbing and brilliant documentary .
 . . . mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return .
one of the best examples of how to treat a subject , you're not fully aware is being examined , much like a photo of yourself you didn't know was being taken .
not too far below the gloss you can still feel director denis villeneuve's beating heart and the fondness he has for his characters .
as if to prove a female director can make a movie with no soft edges , kathryn bigelow offers no sugar-coating or interludes of lightness . her film is unrelentingly claustrophobic and unpleasant .
[villeneuve] seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death .
the result is mesmerizing -- filled with menace and squalor .
fisher has bared his soul and confronted his own shortcomings here in a way . . . that feels very human and very true to life .
it's fun , but the code-talk will fly right over everyone's head
bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy !
what makes the movie a comedy is the way it avoids the more serious emotions involved .
an exhilarating experience .
this cuddly sequel to the 1999 hit is a little more visually polished , a little funnier , and a little more madcap .
the pleasures of super troopers may be fleeting , but they'll register strongly with anybody who still retains a soft spot for precollegiate humor .
the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor .
a distant , even sterile , yet compulsively watchable look at the sordid life of hogan's heroes star bob crane .
the film delivers not just the full assault of reno's immense wit and insight , but a time travel back to what it felt like during those unforgettably uncertain days .
what might have been a predictably heartwarming tale is suffused with complexity .
sound the trumpets : for the first time since desperately seeking susan , madonna doesn't suck as an actress .
although very much like the first movie based on j . k . rowling's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude .
[ " take care of my cat " ] is an honestly nice little film that takes us on an examination of young adult life in urban south korea through the hearts and minds of the five principals .
as the story moves inexorably through its seven day timeframe , the picture becomes increasingly mesmerizing .
maguire is a surprisingly effective peter/spider-man .
not a cozy or ingratiating work , but it's challenging , sometimes clever , and always interesting , and those are reasons enough to see it .
the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up .
like old myths and wonder tales spun afresh .
rarely do films come along that are as intelligent , exuberant , and moving as monsoon wedding .
one scarcely needs the subtitles to enjoy this colorful action farce .
quite funny for the type of movie it is . . .
it's often infuriatingly glib and posturing , and yet it has been made with great evident care and manages to deliver up the man in a way to arouse further curiosity in even the most unknowing viewer .
one of [herzog's] least inspired works .
this boisterous comedy serves up a cruel reminder of the fate of hundreds of thousands of chinese , one which can only qualify as a terrible tragedy .
elling really is about a couple of crazy guys , and it's therapeutic to laugh along with them .
never [sinks] into exploitation .
an irresistible combination of a rousing good story set on a truly grand scale .
there's no denying the physically spectacular qualities of the film . . . or the emotional integrity of the performances .
few films this year have been as resolute in their emotional nakedness .
exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce .
stevenson's performance is at once clueless and fiercely committed , a volatile combination .
this is a very fine movie -- go see it .
as shaky as the plot is , kaufman's script is still memorable for some great one-liners .
despite its flaws , secretary stays in your head and makes you question your own firmly held positions .
one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind .
not everything works , but the average is higher than in mary and most other recent comedies .
a byzantine melodrama that stimulates the higher brain functions as well as the libido .
a sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears .
the film's sharp , often mischievous sense of humor will catch some off guard . . .
does what a fine documentary does best : it extends a warm invitation into an unfamiliar world , then illuminates it fully and allows the larger implications of the journey to sink in unobtrusively .
almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent .
a psychologically rich and suspenseful moral thriller with a stellar performance by al pacino .
you won't believe much of it , but you will laugh at the audacity , at the who's who casting and the sheer insanity of it all .
this version's no classic like its predecessor , but its pleasures are still plentiful .
the bourne identity is what summer screen escapism used to be in the decades when it was geared more to grownups .
provide[s] nail-biting suspense and credible characters without relying on technology-of-the-moment technique or pretentious dialogue .
if it tried to do anything more , it would fail and perhaps explode , but at this level of manic whimsy , it is just about right .
too sincere to exploit its subjects and too honest to manipulate its audience .
the saturation bombing of reggio's images and glass' evocative music . . . ultimately leaves viewers with the task of divining meaning .
for all its serious sense of purpose . . . [it] finds a way to lay bare the tragedies of its setting with a good deal of warmth and humor .
a depressing confirmation of everything those of us who don't object to the description " unelected " have suspected all along : george w . bush is an incurious , uncharismatic , overgrown frat boy with a mean streak a mile wide .
this road movie gives you emotional whiplash , and you'll be glad you went along for the ride .
sure , it's more of the same , but as the film proves , that's not always a bad thing .
a lighthearted , feel-good film that embraces the time-honored truth that the most powerful thing in life is love .
a bowel-curdling , heart-stopping recipe for terror .
daughter from danang is a film that should be seen by all , especially those who aren't aware of , or have forgotten about the unmentioned victims of war .
zhang yimou delivers warm , genuine characters who lie not through dishonesty , but because they genuinely believe it's the only way to bring happiness to their loved ones .
 . . . breathes surprising new life into the familiar by amalgamating genres and adding true human complexity to its not-so-stock characters .
' . . . both hokey and super-cool , and definitely not in a hurry , so sit back , relax and have a few laughs while the little ones get a fuzzy treat . '
a pleasant romantic comedy .
it's a count for our times .
greengrass has delivered an undoubted stylistic tour-de-force , and has managed elements such as sound and cinematography with skill
smith's point is simple and obvious -- people's homes are extensions of themselves , and particularly eccentric people have particularly eccentric living spaces -- but his subjects are charmers .
a romantic comedy , yes , but one with characters who think and talk about their goals , and are working on hard decisions .
vividly conveys both the pitfalls and the pleasures of over-the-top love .
 . . . a weak , manipulative , pencil-thin story that is miraculously able to entertain anyway .
a pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances .
for the first two-thirds of this sparklingly inventive and artful , always fast and furious tale , kids will go happily along for the ride .
majidi's poetic love story is a ravishing consciousness-raiser , if a bit draggy at times .
the smartest bonehead comedy of the summer .
effectively feeds our senses with the chilling sights and sounds from within the camp to create a completely numbing experience .
i love the way that it took chances and really asks you to take these great leaps of faith and pays off .
in his debut as a film director , denzel washington delivers a lean and engaging work .
only two words will tell you what you know when deciding to see it : anthony . hopkins .
the movie's quiet affirmation of neighborhood values gives it an honest , lived-in glow .
a teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting , less symmetrical , less obviously cross-shaped creation .
hayek is stunning as frida and . . . a star-making project .
it's both a necessary political work and a fascinating documentary . . .
hilarious , acidic brit comedy .
as a revenge thriller , the movie is serviceable , but it doesn't really deliver the delicious guilty pleasure of the better film versions .
an ironic speculation on democracy in a culture unaccustomed to it .
it's not life-affirming — its vulgar and mean , but i liked it .
several degrees shy of the gross-out contests one expects from current teen fare .
the inherent strength of the material as well as the integrity of the filmmakers gives this coming-of-age story restraint as well as warmth .
led by griffin's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material .
tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth .
a gentle blend of present day testimonials , surviving footage of burstein and his family performing , historical archives , and telling stills .
a generation x artifact , capturing a brief era of insanity in the sports arena that surely cannot last .
possession is elizabeth barrett browning meets nancy drew , and it's directed by . . . neil labute . hmm .
an uneven but intriguing drama that is part homage and part remake of the italian masterpiece .
windtalkers celebrates the human spirit and packs an emotional wallop .
having never been a huge fan of dickens' 800-page novel , it surprised me how much pleasure i had watching mcgrath's version .
the best thing the film does is to show us not only what that mind looks like , but how the creative process itself operates .
for all its failed connections , divine secrets of the ya-ya sisterhood is nurturing , in a gauzy , dithering way .
this is pretty dicey material . but some unexpected zigs and zags help .
compellingly watchable .
the filmmakers skillfully evoke the sense of menace that nature holds for many urban dwellers .
the laser-projected paintings provide a spell-casting beauty , while russell and dreyfus are a romantic pairing of hearts , preciously exposed as history corners them .
you don't have to be an especially tough grader to give a charitable b-minus to the emperor's club .
this romantic thriller is steeped in the atmosphere of wartime england , and ably captures the speech patterns , moral codes and ideals of the 1940s .
divine secrets of the ya-ya sisterhood may not be exactly divine , but it's definitely -- defiantly -- ya ya , what with all of those terrific songs and spirited performances .
viewed on its own terms , treasure planet is better-than-average family entertainment , but true fans of the stevenson's novel will likely prefer disney's more faithful 1950 live-action swashbuckling classic .
a journey through memory , a celebration of living , and a sobering rumination on fatality , classism , and ignorance .
resourceful and ingenious entertainment .
 " antwone fisher " is an earnest , by-the-numbers effort by washington . it won't rock any boats but is solid meat-and-potatoes filmmaking .
a historical epic with the courage of its convictions about both scope and detail .
we need [moore's] noisy , cocky energy , his passion and class consciousness ; we need his shticks , we need his stones .
although the editing might have been tighter , hush ! sympathetically captures the often futile lifestyle of young people in modern japan .
[gai] comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form .
these are lives worth watching , paths worth following .
it's rather like a lifetime special -- pleasant , sweet and forgettable .
a moody horror/thriller elevated by deft staging and the director's well-known narrative gamesmanship .
as a singular character study , it's perfect . it's also the year's sweetest movie .
a graceful , contemplative film that gradually and artfully draws us into a world where the personal and the political get fatally intertwined .
while not as aggressively impressive as its american counterpart , " in the bedroom , " moretti's film makes its own , quieter observations
the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting .
time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets
 " the emperor's new clothes " begins with a simple plan . . . . well , at least that's the plan .
haynes has so fanatically fetishized every bizarre old-movie idiosyncrasy with such monastic devotion you're not sure if you should applaud or look into having him committed .
[director peter] jackson and his crew have so steeped themselves in the majesty of tolkien's writing that every frame produces new joys , whether you're a fan of the books or not .
while the glass slipper doesn't quite fit , pumpkin is definitely a unique modern fairytale .
the drama is played out with such aching beauty and truth that it brings tears to your eyes .
an exciting and involving rock music doc , a smart and satisfying look inside that tumultuous world .
an offbeat , sometimes gross and surprisingly appealing animated film about the true meaning of the holidays .
this version incarnates the prophetic book in a way even its exacting author might admire .
sometimes , nothing satisfies like old-fashioned swashbuckling . and in this regard , on guard delivers .
 . . . ambition is in short supply in the cinema , and egoyan tackles his themes and explores his characters' crises with seriousness and compassion .
an impossible romance , but we root for the patronized iranian lad .
like dickens with his passages , mcgrath crafts quite moving scenes throughout his resolutely dramatic variation on the novel .
there's a disreputable air about the whole thing , and that's what makes it irresistible .
an exceedingly clever piece of cinema . another great ‘what you don't see' is much more terrifying than what you do see thriller , coupled with some arresting effects , incandescent tones and stupendous performances
a carefully structured scream of consciousness that is tortured and unsettling--but unquestionably alive .
a quietly reflective and melancholy new zealand film about an eventful summer in a 13-year-old girl's life .
cute , funny , heartwarming digitally animated feature film with plenty of slapstick humor for the kids , lots of in-jokes for the adults and heart enough for everyone .
very solid , very watchable first feature for director peter sheridan
a budget affair that exposes the generally sad existence of the bedouins while providing a precious twinkle of insight into their lives .
it suggests the wide-ranging effects of media manipulation , from the kind of reporting that is done by the supposedly liberal media . . . to the intimate and ultimately tragic heartache of maverick individuals like hatfield and hicks .
workmanlike , maybe , but still a film with all the elements that made the other three great , scary times at the movies .
a pleasant enough comedy that should have found a summer place .
branagh , in his most forceful non-shakespeare screen performance , grounds even the softest moments in the angry revolt of his wit .
though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes .
compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder .
what it lacks in originality it makes up for in intelligence and b-grade stylishness .
the warm presence of zhao benshan makes the preposterous lying hero into something more than he reasonably should be .
this is as powerful a set of evidence as you'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives .
director rob marshall went out gunning to make a great one .
skip work to see it at the first opportunity .
bow's best moments are when he's getting busy on the basketball court because that's when he really scores .
offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .
in the end , punch-drunk love is one of those films that i wanted to like much more than i actually did . sometimes , that's enough .
an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected .
ice cube holds the film together with an engaging and warm performance . . .
both deeply weird and charmingly dear .
as blunt as it is in depicting child abuse , el bola is a movie steeped in an ambiguity that lends its conflicts a symbolic resonance .
despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it .
it's a masterpiece .
an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
it's the cinematic equivalent of a good page-turner , and even if it's nonsense , its claws dig surprisingly deep .
director nalin pan doesn't do much to weigh any arguments one way or the other . he simply presents his point of view that ayurveda works . no question .
what " empire " lacks in depth it makes up for with its heart .
claude miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications .
what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment . still , i'm not quite sure what the point is…
rich in detail , gorgeously shot and beautifully acted , les destinees is , in its quiet , epic way , daring , inventive and refreshingly unusual .
 ( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman's moist , deeply emotional eyes shine through this bogus veneer . . .
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman doesn't work ?
ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier .
the film's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .
don't expect any surprises in this checklist of teamwork cliches . . .
as adapted by kevin molony from simon leys' novel " the death of napoleon " and directed by alan taylor , napoleon's journey is interesting but his parisian rebirth is stillborn
the movie addresses a hungry need for pg-rated , nonthreatening family movies , but it doesn't go too much further .
this warm and gentle romantic comedy has enough interesting characters to fill several movies , and its ample charms should win over the most hard-hearted cynics .
a yarn that respects the marvel version without becoming ensnared by it .
this is a happy throwback to the time when cartoons were cinema's most idiosyncratic form instead of one of its most predictable .
complex , affecting and uniquely almodóvar , the film evokes strong emotions and pushes viewers to question their deepest notions of moral right and wrong .
good ol' urban legend stuff .
not so much a movie as a picture book for the big screen . this isn't my favorite in the series , still i enjoyed it enough to recommend .
it's one of the most honest films ever made about hollywood .
it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come .
on its own cinematic terms , it successfully showcases the passions of both the director and novelist byatt .
light , silly , photographed with colour and depth , and rather a good time .
pray's film works well and will appeal even to those who aren't too familiar with turntablism .
troubling and powerful .
good movie . good actress . but if you expect light romantic comedy , good gosh , will you be shocked .
it has the courage to wonder about big questions with sincerity and devotion . it risks seeming slow and pretentious , because it thinks the gamble is worth the promise .
with youthful high spirits , tautou remains captivating throughout michele's religious and romantic quests , and she is backed by a likable cast .
it's an example of sophisticated , challenging filmmaking that stands , despite its noticeable lack of emotional heft , in welcome contrast to the indulgent dead-end experimentation of the director's previous full frontal .
a very funny look at how another culture handles the process of courting and marriage .
but tongue-in-cheek preposterousness has always been part of for the most part wilde's droll whimsy helps " being earnest " overcome its weaknesses and parker's creative interference . . .
much of the movie's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive .
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 .
anchored by a terrific performance by abbass , satin rouge shows that the idea of women's self-actualization knows few continental divides .
awkward but sincere and , ultimately , it wins you over .
smith profiles five extraordinary american homes , and because the owners seem fully aware of the uses and abuses of fame , it's a pleasure to enjoy their eccentricities .
though the plot is predictable , the movie never feels formulaic , because the attention is on the nuances of the emotional development of the delicate characters .
sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man's ruin may be another's fortune .
goyer's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast .
binoche and magimel are perfect in these roles .
when your leading ladies are a couple of screen-eating dominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily .
while undercover brother is definitely one for the masses , it's also full of sharp , smart satire .
gets under the skin of a man who has just lost his wife .
it may not be " last tango in paris " but . . .
no wonder they're talking about " talk to her . " it's astonishing .
for its seriousness , high literary aspirations and stunning acting , the film can only be applauded .
look , this is a terrific flick replete with dazzling camera-work , dancing and music .
it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs .
it's fairly self-aware in its dumbness .
a triumph , relentless and beautiful in its downbeat darkness .
tailored to entertain !
a compelling , moving film that respects its audience and its source material .
has a plot full of twists upon knots . . . and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill .
a work of astonishing delicacy and force .
the film benefits greatly from a less manic tone than its predecessor , as cho appears to have settled comfortably into her skin .
for the first time in several years , mr . allen has surpassed himself with the magic he's spun with the hollywood empress of ms . leoni's ellie .
isn't quite the equal of woo's best earlier work , but it's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films .
the film hinges on its performances , and both leads are up to the task .
an intelligent , earnest , intimate film that drops the ball only when it pauses for blunt exposition to make sure you're getting its metaphysical point .
a modest pleasure that accomplishes its goals with ease and confidence .
a breezy , diverting , conventional , well-acted tale of two men locked in an ongoing game of cat-and-cat .
what jackson has accomplished here is amazing on a technical level .
as teen movies go , " orange county " is a refreshing change
makes s&m seem very romantic , and maggie gyllenhaal is a delight .
a deliciously mordant , bitter black comedy .
although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek's polished direction pour delightfully piquant wine from aged bottles .
it is risky , intelligent , romantic and rapturous from start to finish .
the movie sticks much closer to hornby's drop-dead confessional tone than the film version of high fidelity did .
a pleasant ramble through the sort of idoosyncratic terrain that errol morris has often dealt with . . . it does possess a loose , lackadaisical charm .
 . . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around )
this is a raw and disturbing tale that took five years to make , and the trio's absorbing narrative is a heart-wrenching showcase indeed .
a beautiful and haunting examination of the stories we tell ourselves to make sense of the mundane horrors of the world .
aside from being the funniest movie of the year , simone , andrew niccol's brilliant anti-hollywood satire , has a wickedly eccentric enchantment to it .
watstein handily directs and edits around his screenplay's sappier elements . . . and sustains off the hook's buildup with remarkable assuredness for a first-timer .
just another fish-out-of-water story that barely stays afloat .
there's an energy to y tu mamá también . much of it comes from the brave , uninhibited performances by its lead actors .
it's the kind of pigeonhole-resisting romp that hollywood too rarely provides .
reinforces the often forgotten fact of the world's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes .
you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling .
it's hard not to be seduced by [witherspoon's] charisma , even in this run-of-the-mill vehicle , because this girl knows how to drive it to the max .
a movie for 11-year-old boys with sports dreams of their own and the preteen girls who worship lil' bow wow .
a refreshingly authentic coming-of-age tale .
if you're not into the pokemon franchise , this fourth animated movie i