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although it's a bit smug and repetitive , this documentary engages your brain in a way few current films do .

a little too pat for its own good .

eccentric enough to stave off doldrums , caruso's self-conscious debut is also eminently forgettable .

obvious

about a manga-like heroine who fights back at her abusers , it's energetic and satisfying if not deep and psychological .

they're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood .

ranging from funny to shattering and featuring some of the year's best acting , personal velocity gathers plenty of dramatic momentum .

tedious norwegian offering which somehow snagged an oscar nomination .

corny , schmaltzy and predictable , but still manages to be kind of heartwarming , nonetheless . it's the perfect kind of film to see when you don't want to use your brain . at all .

the movie should jolt you out of your seat a couple of times , give you a few laughs , and leave you feeling like it was worth your seven bucks , even though it does turn out to be a bit of a cheat in the end .

there is no denying the power of polanski's film . . .

a french film with a more down-home flavor .

the screenplay comes across , rather unintentionally , as hip-hop scooby-doo .

you don't need to be a hip-hop fan to appreciate scratch , and that's the mark of a documentary that works .

this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come .

crackerjack entertainment -- nonstop romance , music , suspense and action .

frenetic but not really funny .

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 .

given that both movies expect us to root for convicted violent felons over those assigned to protect us from same , we need every bit of sympathy the cons can muster ; this time , there isn't much .

for the first two-thirds of this sparklingly inventive and artful , always fast and furious tale , kids will go happily along for the ride .

the tone is balanced , reflective and reasonable .

. . . one big laugh , three or four mild giggles , and a whole lot of not much else .

it's a treat watching shaw , a british stage icon , melting under the heat of phocion's attentions .

viewers of barney's crushingly self-indulgent spectacle will see nothing in it to match the ordeal of sitting through it .

a winning piece of work filled with love for the movies of the 1960s .

a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world .

steers has an unexpectedly adamant streak of warm-blooded empathy for all his disparate manhattan denizens--especially the a * * holes .

dark and disturbing , yet compelling to watch .

it's a remarkably solid and subtly satirical tour de force .

far too clever by half , howard's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .

the picture runs a mere 84 minutes , but it's no glance . it's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing .

it's the kind of movie that ends up festooning u . s . art house screens for no reason other than the fact that it's in french ( well , mostly ) with english subtitles and is magically 'significant' because of that .

american chai encourages rueful laughter at stereotypes only an indian-american would recognize . and the lesson , in the end , is nothing new .

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 .

stealing harvard aspires to comedic grand larceny but stands convicted of nothing more than petty theft of your time .

meandering and glacially paced , and often just plain dull .

mixes likeable personalities , inventive photography and cutting , and wall-to-wall toe-tapping music to paint a picture of a subculture that is at once exhilarating , silly , perverse , hopeful and always fun .

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 .

an appalling 'ace ventura' rip-off that somehow manages to bring together kevin pollak , former wrestler chyna and dolly parton . if any of them list this 'credit' on their resumes in the future , that'll be much funnier than anything in the film . . .

the son's room is a triumph of gentility that earns its moments of pathos .

one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers .

a colorful , vibrant introduction to a universal human impulse , lushly photographed and beautifully recorded .

once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back .

a polished and vastly entertaining caper film that puts the sting back into the con .

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 .

it's got its heart in the right place , but it also wilts after awhile .

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

. . . unbearably lame .

though howard demonstrates a great eye as a director , this southern gothic drama is sadly a tough sit , with an undeveloped narrative and enough flashbacks and heavy-handed metaphors to choke a horse -- or at least slow him down to a canter .

thin period piece .

so brisk is wang's pacing that none of the excellent cast are given air to breathe .

[a] rare movie that makes us re-assess the basis for our lives and evaluate what is truly ours in a world of meaningless activity .

not an objectionable or dull film ; it merely lacks everything except good intentions .

beautiful , cold , oddly colorful and just plain otherworldly , a freaky bit of art that's there to scare while we delight in the images .

suffocated at conception by its munchausen-by-proxy mum . punish the vehicle to adore the star .

no doubt the star and everyone else involved had their hearts in the right place . where their heads were is anyone's guess .

[evans is] a fascinating character , and deserves a better vehicle than this facetious smirk of a movie .

a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .

throughout , mr . audiard's direction is fluid and quick .

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

the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing .

this movie has a strong message about never giving up on a loved one , but it's not an easy movie to watch and will probably disturb many who see it .

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

an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy

theology aside , why put someone who ultimately doesn't learn at the center of a kids' story ?

at three hours and with very little story or character development , there is plenty of room for editing , and a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue .

because the genre is well established , what makes the movie fresh is smart writing , skewed characters , and the title performance by kieran culkin .

from a deceptively simple premise , this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .

the movie is obviously a labour of love so howard appears to have had free rein to be as pretentious as he wanted .

it took 19 predecessors to get this ?

the movie just has too much on its plate to really stay afloat for its just under ninety minute running time .

over-the-top and a bit ostentatious , this is a movie that's got oodles of style and substance .

a great ensemble cast can't lift this heartfelt enterprise out of the familiar .

a beautifully tooled action thriller about love and terrorism in korea .

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

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

the whole mildly pleasant outing -- the r rating is for brief nudity and a grisly corpse -- remains aloft not on its own self-referential hot air , but on the inspired performance of tim allen .

not far beneath the surface , this reconfigured tale asks disturbing questions about those things we expect from military epics .

a pleasant romantic comedy .

there aren't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but " elling " manages to do all three quite well , making it one of the year's most enjoyable releases .

it's hard to tell with all the crashing and banging where the salesmanship ends and the movie begins .

an annoying orgy of excess and exploitation that has no point and goes nowhere .

the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and the sparse instances of humor meant to shine through the gloomy film noir veil .

merci pour le movie .

despite the film's bizarre developments , hoffman keeps us riveted with every painful nuance , unexpected flashes of dark comedy and the character's gripping humanity .

it's fascinating to see how bettany and mcdowell play off each other .

a cautionary tale about the grandiosity of a college student who sees himself as impervious to a fall .

weaves a spell over you , with its disturbingly close-up look at damaged psyches and its subtle undercurrents of danger . but its awkward structure keeps breaking the spell .

bottom-rung new jack city wannabe .

stars matthew perry and elizabeth hurley illicit more than a chuckle , and more jokes land than crash , but ultimately serving sara doesn't distinguish itself from the herd .

with or without the sex , a wonderful tale of love and destiny , told well by a master storyteller

the performers are so spot on , it is hard to conceive anyone else in their roles .

it's a deeply serious movie that cares passionately about its subject , but too often becomes ponderous in its teaching of history , or lost in the intricate connections and multiple timelines of its story .

i cry for i spy -- or i would if this latest and laziest imaginable of all vintage-tv spinoffs were capable of engendering an emotional response of any kind .

good-naturedly cornball sequel .

feels less like a cousin to blade runner than like a bottom-feeder sequel in the escape from new york series .

the quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths .

neither as scary-funny as tremors nor demented-funny as starship troopers , the movie isn't tough to take as long as you've paid a matinee price .

anyone who can count to five ( the film's target market ? ) can see where this dumbed-down concoction is going .

this is an egotistical endeavor from the daughter of horror director dario argento ( a producer here ) , but her raw performance and utter fearlessness make it strangely magnetic .