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a wretched movie that reduces the second world war to one man's quest to find an old flame .

a glossy knock-off of a b-movie revenge flick .

chalk it up as the worst kind of hubristic folly .

an unremarkable , modern action/comedy buddy movie whose only nod to nostalgia is in the title .

the film can depress you about life itself .

this directorial debut from music video show-off higuchinsky is all flash .

the heedless impetuousness of youth is on full , irritating display in [this] meandering and pointless french coming-of-age import from writer-director anne-sophie birot .

boy oh boy , it's a howler .

the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl .

every so often a film comes along that is so insanely stupid , so awful in so many ways that watching it leaves you giddy . half past dead is just such an achievement .

talky , artificial and opaque . . . an interesting technical exercise , but a tedious picture .

so mind-numbingly awful that you hope britney won't do it one more time , as far as movies are concerned .

overwrought , melodramatic bodice-ripper .

if you adored the full monty so resoundingly that you're dying to see the same old thing in a tired old setting , then this should keep you reasonably entertained .

everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .

huppert's show to steal and she makes a meal of it , channeling kathy baker's creepy turn as the repressed mother on boston public just as much as 8 women's augustine .

displaying about equal amounts of naiveté , passion and talent , beneath clouds establishes sen as a filmmaker of considerable potential .

although devoid of objectivity and full of nostalgic comments from the now middle-aged participants , dogtown and z-boys has a compelling story to tell .

. . . a thoughtful what-if for the heart as well as the mind .

in the disturbingly involving family dysfunctional drama how i killed my father , french director anne fontaine delivers an inspired portrait of male-ridden angst and the emotional blockage that accompanies this human condition

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 .

the large-format film is well suited to capture these musicians in full regalia and the incredible imax sound system lets you feel the beat down to your toes .

there's very little sense to what's going on here , but the makers serve up the cliches with considerable dash .

these three films form a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people .

jeong-hyang lee's film is deceptively simple , deeply satisfying .

a fast-moving and remarkable film that appears destined to become a landmark in japanese animation .

a compelling , moving film that respects its audience and its source material .

the heightened symmetry of this new/old cinema paradiso makes the film a fuller experience , like an old friend haunted by the exigencies of time .

griffiths proves she's that rare luminary who continually raises the standard of her profession .

an enchanting film that presents an audacious tour of the past and takes within its warm embrace the bounties of cultural artifacts inside st . petersburg's hermitage museum .