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enjoyably dumb , sweet , and intermittently hilarious -- if you 've a taste for the quirky , steal a glimpse .

just like the deli sandwich : lots of ham , lots of cheese , with a sickly sweet coating to disguise its excrescence until just after ( or during ) consumption of its second half .

exciting and direct , with ghost imagery that shows just enough to keep us on our toes .

costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .

there are some fairly unsettling scenes , but they never succeed in really rattling the viewer .

an original gem about an obsession with time .

if you 've the patience , there are great rewards here .

fontaine 's direction , especially her agreeably startling use of close-ups and her grace with a moving camera , creates sheerly cinematic appeal .

stephen rea , aidan quinn , and alan bates play desmond 's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , 't is .

if `` lilo & stitch `` is n't the most edgy piece of disney animation to hit the silver screen , then this first film to use a watercolor background since `` dumbo `` certainly ranks as the most original in years .

sensual , funny and , in the end , very touching .

surprisingly powerful and universal .

a confident , richly acted , emotionally devastating piece of work and 2002 's first great film

graham greene 's novel of colonialism and empire is elevated by michael caine 's performance as a weary journalist in a changing world .

haneke challenges us to confront the reality of sexual aberration .

equlibrium could pass for a thirteen-year-old 's book report on the totalitarian themes of 1984 and farenheit 451 .

we are left with a superficial snapshot that , however engaging , is insufficiently enlightening and inviting .

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 climactic events are so well realized that you may forget all about the original conflict , just like the movie does

subversive , meditative , clinical and poetic , the piano teacher is a daring work of genius .

as violent , profane and exploitative as the most offensive action flick you 've ever seen .

playfully profound . . . and crazier than michael jackson on the top floor of a skyscraper nursery surrounded by open windows .

exquisitely acted and masterfully if preciously interwovenM-^E [ the film ] addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce .

the performances are amiable and committed , and the comedy more often than not hits the bullseye .

a well-made and often lovely depiction of the mysteries of friendship .

we hate [ madonna ] within the film 's first five minutes , and she lacks the skill or presence to regain any ground .

the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten .

[ t ] oo many of these gross out scenes . . .

be patient with the lovely hush ! and your reward will be a thoughtful , emotional movie experience .

black-and-white and unrealistic .

a fine film , but it would be a lot better if it stuck to betty fisher and left out the other stories .

it 's everything you do n't go to the movies for .

a solid , spooky entertainment worthy of the price of a ticket .

not everything in this ambitious comic escapade works , but coppola , along with his sister , sofia , is a real filmmaker . it must be in the genes .

there 's no real reason to see it , and no real reason not to .

it 's not like having a real film of nijinsky , but at least it 's better than that eponymous 1980 biopic that used soap in the places where the mysteries lingered .

remarkably accessible and affecting .

rarely , a movie is more than a movie . go .

taken as a whole , the tuxedo does n't add up to a whole lot .

oozes condescension from every pore .

shanghai ghetto should be applauded for finding a new angle on a tireless story , but you might want to think twice before booking passage .

automatically pegs itself for the straight-to-video sci-fi rental shelf .

it 's a gag that 's worn a bit thin over the years , though do n't ask still finds a few chuckles .

you get the impression that writer and director burr steers knows the territory . . . but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools .

lucky break is perfectly inoffensive and harmless , but it 's also drab and inert .

a compelling motion picture that illustrates an american tragedy .

. . . post-september 11 , `` the sum of all fears `` seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .

beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics .

kinnear and dafoe give what may be the performances of their careers .

a serious movie with serious ideas . but seriously , folks , it does n't work .

oliveira seems to pursue silent film representation with every mournful composition .

`` mostly martha `` is a bright , light modern day family parable that wears its heart on its sleeve for all to see .

a movie that at its best does n't just make the most out of its characters ' flaws but insists on the virtue of imperfection .

a love for films shines through each frame and the era is recreated with obvious affection , scored to perfection with some tasty boogaloo beats .

for those in search of something different , wendigo is a genuinely bone-chilling tale .

uncertain in tone . . . a garbled exercise in sexual politics , a junior varsity short cuts by way of very bad things .

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

what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks ( at least during their '70s heyday ) comes across as lame and sophomoric in this debut indie feature .

those who managed to avoid the deconstructionist theorizing of french philosopher jacques derrida in college can now take an 85-minute brush-up course with the documentary derrida . or , you can do something fun tonight .

this story still seems timely and important . and there 's an element of heartbreak to watching it now , with older and wiser eyes , because we know what will happen after greene 's story ends .

it 's anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair .

gee , a second assassin shot kennedy ? moot point .

confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .

argento , at only 26 , brings a youthful , out-to-change-the-world aggressiveness to the project , as if she 's cut open a vein and bled the raw film stock .

the visuals alone make metropolis worth seeing .

a jewish ww ii doc that is n't trying simply to out-shock , out-outrage or out-depress its potential audience ! who knew . . .

high crimes steals so freely from other movies and combines enough disparate types of films that it ca n't help but engage an audience .

disney 's live-action division has a history of releasing cinematic flotsam , but this is one occasion when they have unearthed a rare gem .

a poignant lyricism runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem .

gives an intriguing twist to the french coming-of-age genre .

this big screen caper has a good bark , far from being a bow-wow .

a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you 're going to alter the bard 's ending , you 'd better have a good alternative .

a surprisingly 'solid ' achievement by director malcolm d . lee and writer john ridley .

a very slow , uneventful ride around a pretty tattered old carousel .

though avary has done his best to make something out of ellis ' nothing novel , in the end , his rules is barely worth following .

more than makes up for its mawkish posing by offering rousing spates of genuine feeling .

it 's a compelling and horrifying story , and the laramie project is worthwhile for reminding us that this sort of thing does , in fact , still happen in america .

weirdly , broomfield has compelling new material but he does n't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .

a whimsical if predictable time-travel fable marred by a willful single-mindedness .

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

morton is , as usual , brilliant .

schepisi , aided by a cast that seems to include every top-notch british actor who did not appear in gosford park ( as well as one , ms . mirren , who did ) , has succeeded beyond all expectation .

. . . stale and uninspired .

it 's an experience in understanding a unique culture that is presented with universal appeal .

i kept wishing i was watching a documentary about the wartime navajos and what they accomplished instead of all this specious hollywood hoo-ha .

while most films these days are about nothing , this film seems to be about everything that 's plaguing the human spirit in a relentlessly globalizing world .

paxton 's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre .

as a movie , it never seems fresh and vital . it never plays as dramatic even when dramatic things happen to people . it labours as storytelling .

an unsatisfying hybrid of blair witch and typical stalk-and-slash fare , where the most conservative protagonist is always the last one living .

for a movie audience , the hours does n't connect in a neat way , but introduces characters who illuminate mysteries of sex , duty and love .

william shatner , as a pompous professor , is the sole bright spot . . .

to say analyze that is de niro 's best film since meet the parents sums up the sad state of his recent career .

imperfect ? yes , but also intriguing and honorable , a worthwhile addition to a distinguished film legacy .

it 's so underwritten that you ca n't figure out just where the other characters , including ana 's father and grandfather , come down on the issue of ana 's future .

the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine .

in a summer overrun with movies dominated by cgi aliens and super heroes , it revigorates the mind to see a feature that concentrates on people , a project in which the script and characters hold sway .

the backyard battles you staged with your green plastic army men were more exciting and almost certainly made more sense .

if you really want to understand what this story is really all about , you 're far better served by the source material .

it took 19 predecessors to get this ?

a gorgeous , witty , seductive movie .