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There's a great deal of corny dialogue and preposterous moments.
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Williams absolutely nails Sy's queasy infatuation and overall strangeness.
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. Curiously, Super Troopers suffers because it doesn't have enough vices to merit its 103-minute length.
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As exciting as all this exoticism might sound to the typical Pax viewer, the rest of us will be lulled into a coma.
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Watch Barbershop again if you're in need of a Cube fix--this isn't worth sitting through.
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An awkwardly garish showcase that diverges from anything remotely probing or penetrating.
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Certain to be distasteful to children and adults alike, Eight Crazy Nights is a total misfire.
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I haven't laughed that hard in years!
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Sorvino is delightful in the central role.
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A gracious, eloquent film that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past forever lost.
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What a great way to spend 4 units of your day.
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A passionately inquisitive film determined to uncover the truth and hopefully inspire action.
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Both a successful adaptation and an enjoyable film in its own right.
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And Vin Diesel is the man.
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Just a Kiss is a just a waste.
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Murder by Numbers just doesn't add up.
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All three descriptions suit Evelyn, a besotted and obvious drama that tells us nothing new.
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This is popcorn movie fun with equal doses of action, cheese, ham and cheek (as well as a serious debt to The Road Warrior), but it feels like unrealized potential
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In Death to Smoochy, we don't get Williams' usual tear and a smile, just sneers and bile, and the spectacle is nothing short of refreshing.
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An uneven mix of dark satire and childhood awakening.
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The movie is about as humorous as watching your favorite pet get buried alive.
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Bears is even worse than I imagined a movie ever could be.
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Dramatically lackluster.
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made Eddie Murphy a movie star and the man hasn't aged a day.
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This is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the American underground.
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Yes, MIBII is rote work and predictable, but with a philosophical visual coming right at the end that extravagantly redeems it.
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Their contrast is neither dramatic nor comic -- it's just a weird fizzle.
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All the characters are clinically depressed and have abandoned their slim hopes and dreams.
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Tartakovsky's team has some freakish powers of visual charm, but the five writers slip into the modern rut of narrative banality.
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A gently funny, sweetly adventurous film that makes you feel genuinely good, that is to say, entirely unconned by false sentiment or sharp, overmanipulative Hollywood practices.
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Tries too hard to be funny in a way that's too loud, too goofy and too short of an attention span.
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The obnoxious title character provides the drama that gives added clout to this doc.
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You emerge dazed, confused as to whether you've seen pornography or documentary.
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Lucy's a dull girl, that's all.
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Sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments.
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Directed without the expected flair or imagination by Hong Kong master John Woo, Windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length.
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It looks closely, insightfully at fragile, complex relationships.
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The story has some nice twists but the ending and some of the back-story is a little tired.
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is an inexpressible and drab wannabe looking for that exact niche.
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The Mothman Prophecies, which is mostly a bore, seems to exist only for its climactic setpiece.
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Spirit is a visual treat, and it takes chances that are bold by studio standards, but it lacks a strong narrative.
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This is one of the rarest kinds of films: a family-oriented non-Disney film that is actually funny without hitting below the belt.
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For almost the first two-thirds of Martin Scorsese's 168-minute Gangs of New York, I was entranced.
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...a cheap, ludicrous attempt at serious horror.
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An unremittingly ugly movie to look at, listen to, and think about, it is quite possibly the sturdiest example yet of why the DV revolution has cheapened the artistry of making a film.
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Enticing and often funny documentary.
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But one thing's for sure: It never comes close to being either funny or scary.
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The movie eventually snaps under the strain of its plot contrivances and its need to reassure.
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Whereas Oliver Stone's conspiracy thriller JFK was long, intricate, star-studded and visually flashy, Interview with the Assassin draws its considerable power from simplicity.
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The Komediant is a tale worth catching.
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The holes in this film remain agape -- holes punched through by an inconsistent, meandering, and sometimes dry plot.
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Worth seeing just for Weaver and LaPaglia.
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It follows the Blair Witch formula for an hour, in which we're told something creepy and vague is in the works, and then it goes awry in the final 30 minutes.
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An encouraging effort from McCrudden
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I was amused and entertained by the unfolding of Bielinsky's cleverly constructed scenario, and greatly impressed by the skill of the actors involved in the enterprise.
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Such master screenwriting comes courtesy of John Pogue, the Yale grad who previously gave us "The Skulls" and last year's "Rollerball."
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Initially gripping, eventually cloying POW drama.
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This is not a Jackie Chan movie.
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Chamber of Secrets will find millions of eager fans.
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Lacks the visual flair and bouncing bravado that characterizes better hip-hop clips and is content to recycle images and characters that were already tired 10 years ago.
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A timid, soggy near miss.
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A solidly constructed, entertaining thriller that stops short of true inspiration.
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A quiet family drama with a little bit of romance and a dose of darkness.
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Smith examines the intimate, unguarded moments of folks who live in unusual homes -- which pop up in nearly every corner of the country.
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I admire it and yet cannot recommend it, because it overstays its natural running time.
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Thoroughly engrossing and ultimately tragic.
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I can analyze this movie in three words: Thumbs Friggin' Down.
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If only it were, well, funnier.
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It is messy, uncouth, incomprehensible, vicious and absurd.
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From its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale, Martin is a masterfully conducted work.
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Charly comes off as emotionally manipulative and sadly imitative of innumerable past Love Story derisions.
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Kung Pow seems like some futile concoction that was developed hastily after Oedekerk and his fellow moviemakers got through crashing a college keg party.
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Its premise is smart, but the execution is pretty weary.
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An engrossing Iranian film about two itinerant teachers and some lost and desolate people they encounter in a place where war has savaged the lives and liberties of the poor and the dispossessed.
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for those for whom the name Woody Allen was once a guarantee of something fresh, sometimes funny, and usually genuinely worthwhile, Hollywood Ending is a depressing experience
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Somewhere inside the mess that is World Traveler, there is a mediocre movie trying to get out.
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First and foremost...the reason to go see "Blue Crush" is the phenomenal, water-born cinematography by David Hennings.
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Connoisseurs of Chinese film will be pleased to discover that Tian's meticulous talent has not withered during his enforced hiatus.
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Gaunt, silver-haired and leonine, (Harris) brings a tragic dimension and savage full-bodied wit and cunning to the aging Sandeman.
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Left me with the visceral sensation of longing, lasting traces of Charlotte's web of desire and desperation.
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The problem with The Bread, My Sweet is that it's far too sentimental.
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Combines a comically dismal social realism with a farcically bawdy fantasy of redemption and regeneration.
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Loud, chaotic and largely unfunny.
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The main characters are simply named The Husband, The Wife and The Kidnapper, emphasizing the disappointingly generic nature of the entire effort.
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A Movie to Forget
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Rife with nutty cliches and far too much dialogue.
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Starts out with tremendous promise, introducing an intriguing and alluring premise, only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter.
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A raunchy and frequently hilarious follow-up to the gifted Korean American stand-up's I'm the One That I Want.
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A completely spooky piece of business that gets under your skin and, some plot blips aside, stays there for the duration.
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An artful yet depressing film that makes a melodramatic mountain out of the molehill of a missing bike.
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The movie ends with outtakes in which most of the characters forget their lines and just utter 'uhhh,' which is better than most of the writing in the movie.
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If that doesn't clue you in that something's horribly wrong, nothing will.
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This loud and thoroughly obnoxious comedy about a pair of squabbling working-class spouses is a deeply unpleasant experience.
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It's not an easy one to review.
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Ultimately, in the history of the Academy, people may be wondering what all that jazz was about "Chicago" in 2002.
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The film has a terrific look and Salma Hayek has a feel for the character at all stages of her life.
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What makes Barbershop so likable, with all its flaws, is that it has none of the pushiness and decibel volume of most contemporary comedies.
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This is for the most part a useless movie, even with a great director at the helm.
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(Reaches) wholly believable and heart-wrenching depths of despair.
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The film fearlessly gets under the skin of the people involved ... This makes it not only a detailed historical document, but an engaging and moving portrait of a subculture.
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