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The movie doesn't generate a lot of energy.
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And yet, it still works.
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It squanders Chan's uniqueness; it could even be said to squander Jennifer Love Hewitt!
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... a light, yet engrossing piece.
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Really quite funny.
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Pretty much sucks, but has a funny moment or two.
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A singularly off-putting romantic comedy.
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Diaz wears out her welcome in her most charmless performance
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The actors improvise and scream their way around this movie directionless, lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen.
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The off-center humor is a constant, and the ensemble gives it a buoyant delivery.
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Nearly all the fundamentals you take for granted in most films are mishandled here.
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An eye-boggling blend of psychedelic devices, special effects and backgrounds, 'Spy Kids 2' is a visual treat for all audiences.
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A lot of talent is wasted in this crass, low-wattage endeavor.
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Saddled with an unwieldy cast of characters and angles, but the payoff is powerful and revelatory.
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An engaging criminal romp that will have viewers guessing just who's being conned right up to the finale.
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An engrossing portrait of uncompromising artists trying to create something original against the backdrop of a corporate music industry that only seems to care about the bottom line.
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Kaufman's script is never especially clever and often is rather pretentious.
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It celebrates the group's playful spark of nonconformity, glancing vividly back at what Hibiscus grandly called his 'angels of light.'
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Like coming into a long-running, well-written television series where you've missed the first half-dozen episodes and probably won't see the next six.
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Its flame-like, roiling black-and-white inspires trembling and gratitude.
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Although it includes a fair share of dumb drug jokes and predictable slapstick, "Orange County" is far funnier than it would seem to have any right to be.
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(The film) tackles the topic of relationships in such a straightforward, emotionally honest manner that by the end, it's impossible to ascertain whether the film is, at its core, deeply pessimistic or quietly hopeful.
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The film is weighed down by supporting characters who are either too goodly, wise and knowing or downright comically evil.
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It's a visual Rorschach test and I must have failed.
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An uncomfortable experience, but one as brave and challenging as you could possibly expect these days from American cinema.
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The huskies are beautiful, the border collie is funny and the overall feeling is genial and decent.
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Charming and witty, it's also somewhat clumsy.
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Amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances.
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With McConaughey in an entirely irony-free zone and Bale reduced mainly to batting his sensitive eyelids, there's not enough intelligence, wit or innovation on the screen to attract and sustain an older crowd.
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A vivid, spicy footnote to history, and a movie that grips and holds you in rapt attention from start to finish.
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...an eerily suspenseful, deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller.
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Despite Juliet Stevenon's attempt to bring cohesion to Pamela's emotional roller coaster life, it is not enough to give the film the substance it so desperately needs.
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This film is an act of spiritual faith -- an eloquent, deeply felt meditation on the nature of compassion.
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It all plays out ... like a high-end John Hughes comedy, a kind of Elder Bueller's Time Out.
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What with all the blanket statements and dime-store ruminations on vanity, the worries of the rich and sudden wisdom, the film becomes a sermon for most of its running time.
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Wildly incompetent but brilliantly named Half Past Dead -- or for Seagal pessimists: Totally Past His Prime.
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Those eternally devoted to the insanity of Black will have an intermittently good time.
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The pretensions -- and disposable story -- sink the movie.
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She nearly glows with enthusiasm, sensuality and a conniving wit.
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And for many of us, that's good enough.
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Meyjes ... has done his homework and soaked up some jazzy new revisionist theories about the origins of Nazi politics and aesthetics.
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Poetic, heartbreaking.
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A memorable experience that, like many of his works, presents weighty issues colorfully wrapped up in his own idiosyncratic strain of kitschy goodwill.
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As an actress, Madonna is one helluva singer.
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The script by Vincent R. Nebrida ... tries to cram too many ingredients into one small pot.
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Just as the lousy Tarantino imitations have subsided, here comes the first lousy Guy Ritchie imitation.
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The direction has a fluid, no-nonsense authority, and the performances by Harris, Phifer and Cam'ron seal the deal.
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A film that will enthrall the whole family.
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It just doesn't have anything really interesting to say.
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Much of The Lady and the Duke is about quiet, decisive moments between members of the cultural elite as they determine how to proceed as the world implodes.
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While you have to admit it's semi-amusing to watch Robert DeNiro belt out "When you're a Jet, you're a Jet all the way," it's equally distasteful to watch him sing the lyrics to "Tonight."
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A quaint, romanticized rendering.
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Filmmakers David Weissman and Bill Weber benefit enormously from the Cockettes' camera craziness -- not only did they film performances, but they did the same at home.
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As chilling and fascinating as Philippe Mora's modern Hitler-study, Snide and Prejudice.
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A little too ponderous to work as shallow entertainment, not remotely incisive enough to qualify as drama, Monsoon Wedding serves mostly to whet one's appetite for the Bollywood films.
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A movie that the less charitable might describe as a castrated cross between Highlander and Lolita.
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Seagal, who looks more like Danny Aiello these days, mumbles his way through the movie.
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A full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
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How do you make a movie with depth about a man who lacked any?
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Fudges fact and fancy with such confidence that we feel as if we're seeing something purer than the real thing.
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The cast is top-notch and I predict there will be plenty of female audience members drooling over Michael Idemoto as Michael.
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Sandra Bullock and Hugh Grant make a great team, but this predictable romantic comedy should get a pink slip.
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It's all stitched together with energy, intelligence and verve, enhanced by a surplus of vintage archive footage.
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So muddled, repetitive and ragged that it says far less about the horrifying historical reality than about the filmmaker's characteristic style.
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A faster paced family flick.
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"Analyze That" is one of those crass, contrived sequels that not only fails on its own, but makes you second-guess your affection for the original.
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Fairy-tale formula, serves as a paper skeleton for some very good acting, dialogue, comedy, direction and especially charm.
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The quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by Rachel Griffiths.
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I'm sure the filmmakers found this a remarkable and novel concept, but anybody who has ever seen an independent film can report that it is instead a cheap cliché.
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In its understanding, often funny way, it tells a story whose restatement is validated by the changing composition of the nation.
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Let's issue a moratorium, effective immediately, on treacly films about inspirational prep-school professors and the children they so heartwarmingly motivate.
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Tiresomely derivative and hammily acted.
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I walked away from this new version of E.T. just as I hoped I would -- with moist eyes.
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What should have been a cutting Hollywood satire is instead about as fresh as last week's issue of Variety.
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The film does a solid job of slowly, steadily building up to the climactic burst of violence.
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The heart of the film is a touching reflection on aging, suffering and the prospect of death.
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The notion of deleting emotion from people, even in an advanced Prozac Nation, is so insanely dysfunctional that the rampantly designed Equilibrium becomes a concept doofus.
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Puts to rest any thought that the German film industry cannot make a delightful comedy centering on food.
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With the dog days of August upon us, think of this dog of a movie as the cinematic equivalent of high humidity.
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No amount of arty theorizing -- the special effects are 'German-Expressionist,' according to the press notes -- can render it anything but laughable.
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A well-executed spy-thriller.
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Lisa Rinzler's cinematography may be lovely, but Love Liza's tale itself virtually collapses into an inhalant blackout, maintaining consciousness just long enough to achieve callow pretension.
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The trailer is a riot.
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This cloying, voices-from-the-other-side story is hell.
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Alas, getting there is not even half the interest.
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A chilly, brooding but quietly resonant psychological study of domestic tension and unhappiness.
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The result is somewhat satisfying -- it still comes from Spielberg, who has never made anything that wasn't at least watchable.
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I'll go out on a limb.
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Deflated ending aside, there's much to recommend the film.
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Sheridan is painfully bad, a fourth-rate Jim Carrey who doesn't understand the difference between dumb fun and just plain dumb.
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As improbable as this premise may seem, Abbass's understated, shining performance offers us the sense that on some elemental level, Lilia deeply wants to break free of her old life.
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Maybe LeBlanc thought, "Hey, the movie about the baseball-playing monkey was worse."
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Gives an intriguing twist to the French coming-of-age genre.
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He nonetheless appreciates the art and reveals a music scene that transcends culture and race.
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Escapes the precious trappings of most romantic comedies, infusing into the story very real, complicated emotions.
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Full of bland hotels, highways, parking lots, with some glimpses of nature and family warmth, Time Out is a discreet moan of despair about entrapment in the maze of modern life.
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A naturally funny film, Home Movie makes you crave Chris Smith's next movie.
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director Hoffman, his writer and Kline's agent should serve detention
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The quirky and recessive charms of co-stars Martin Donovan and Mary-Louise Parker help overcome the problematic script.
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It's a mindless action flick with a twist -- far better suited to video-viewing than the multiplex.
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