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Does not go far enough in its humor or stock ideas to stand out as particularly memorable or even all that funny.
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Despite the film's shortcomings, the stories are quietly moving.
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From blushing to gushing---Imamura squirts the screen in 'Warm Water Under a Red Bridge'
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Delight your senses and crash this wedding!
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The best thing I can say about this film is that I can't wait to see what the director does next.
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... Wallace is smart to vary the pitch of his movie, balancing deafening battle scenes with quieter domestic scenes of women back home receiving War Department telegrams.
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A true-blue delight.
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About as enjoyable, I would imagine, as searching for a quarter in a giant pile of elephant feces...positively dreadful.
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It leaves little doubt that Kidman has become one of our best actors.
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What ensues are much blood-splattering, mass drug-induced bowel evacuations, and none-too-funny commentary on the cultural distinctions between Americans and Brits.
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An enjoyable experience.
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And they succeed merrily at their noble endeavor.
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Very much a home video, and so devoid of artifice and purpose that it appears not to have been edited at all.
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No, even that's too committed.
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The entire movie is in need of a scented bath.
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I spied with my little eye...a mediocre collection of cookie-cutter action scenes and occasionally inspired dialogue bits
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The Hours, a delicately crafted film, is an impressive achievement in spite of a river of sadness that pours into every frame.
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Are we dealing with dreams, visions or being told what actually happened as if it were the third ending of Clue?
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This movie is so bad, that it's almost worth seeing because it's so bad.
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No better or worse than 'Truth or Consequences, N.M.' or any other interchangeable actioner with imbecilic Mafia toolbags botching a routine assignment in a Western backwater.
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Well, this movie proves you wrong on both counts.
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Much of it is funny, but there are also some startling, surrealistic moments...
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Those who are only mildly curious, I fear, will be put to sleep or bewildered by the artsy and often pointless visuals.
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Its engaging simplicity is driven by appealing leads.
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Theological matters aside, the movie is so clumsily sentimental and ineptly directed it may leave you speaking in tongues.
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This 90-minute postmodern voyage was more diverting and thought-provoking than I'd expected it to be.
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Ignoring that, he made Swimfan anyway
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We never truly come to care about the main characters and whether or not they'll wind up together, and Michele's spiritual quest is neither amusing nor dramatic enough to sustain interest.
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Like Schindler's List, The Grey Zone attempts to be grandiloquent, but ends up merely pretentious -- in a grisly sort of way.
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A touching drama about old age and grief with a tour de force performance by Michel Piccoli.
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Video games are more involving than this mess.
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An obvious copy of one of the best films ever made, how could it not be?
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The plan to make Enough into 'an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller' has flopped as surely as a soufflé gone wrong.
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Dog Soldiers doesn't transcend genre -- it embraces it, energizes it and takes big bloody chomps out of it.
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Third time's the charm...yeah, baby!
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Weighty and ponderous but every bit as filling as the treat of the title.
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Makes the case for a strong education and good teachers being more valuable in the way they help increase an average student's self-esteem, and not strictly in the knowledge imparted.
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A giddy and provocative sexual romp that has something to say.
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What's not to like about a movie with a 'children's' song that includes the line 'My stepdad's not mean, he's just adjusting'?
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Equilibrium the movie, as opposed to the manifesto, is really, really stupid.
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Suffers from over-familiarity since hit-hungry British filmmakers have strip-mined the Monty formula mercilessly since 1997.
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eventually arrives at its heart, as simple self-reflection meditation.
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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.
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For most movies, 84 minutes is short, but this one feels like a life sentence.
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What begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters.
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It's rare for any movie to be as subtle and touching as The Son's Room.
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Not as well-written as Sexy Beast, not as gloriously flippant as Lock, Stock and Two Smoking Barrels, but stylish and moody and exceptionally well-acted.
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Spielberg's realization of a near-future America is masterful.
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Amidst the action, the script carries Arnold (and the viewers) into the forbidden zone of sympathizing with terrorist motivations by presenting the "other side of the story."
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As gory as the scenes of torture and self-mutilation may be, they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an Asian landscape painting.
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Jones has delivered a solidly entertaining and moving family drama.
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(H)ad I suffered and bled on the hard ground of Ia Drang, I'd want something a bit more complex than We Were Soldiers to be remembered by.
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It's sort of in-between, and it works.
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He's the scariest guy you'll see all summer.
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Unfunny comedy with a lot of static set ups, not much camera movement, and most of the scenes take place indoors in formal settings with motionless characters.
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A movie in which two not very absorbing characters are engaged in a romance you can't wait to see end.
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A cultural wildcard experience: wacky, different, unusual, even nutty.
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Mediocre fable from Burkina Faso.
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A hallmark film in an increasingly important film industry and worth the look.
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The worst film of the year.
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A funny, triumphant, and moving documentary.
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For the most part, the film does hold up pretty well.
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It's about issues most adults have to face in marriage and I think that's what I liked about it -- the real issues tucked between the silly and crude storyline.
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There's a spontaneity to The Chateau, a sense of light-heartedness, that makes it attractive throughout.
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In fact, it's quite fun in places.
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It's a barely tolerable slog over well-trod ground.
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Manipulative claptrap, a period-piece movie-of-the-week, plain old blarney... take your pick.
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Not that any of us should be complaining when a film clocks in around 90 minutes these days, but the plotting here leaves a lot to be desired.
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It's crap on a leash--far too polite to scale the lunatic heights of Joe Dante's similarly styled Gremlins.
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Hollywood Ending is not show-stoppingly hilarious, but scathingly witty nonetheless.
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It's an exhilarating place to visit, this laboratory of laughter.
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Genuinely unnerving.
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Enriched by a strong and unforced supporting cast.
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Without any redeeming value whatsoever.
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An intoxicating experience.
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Rock solid family fun out of the gates, extremely imaginative through out, but wanes in the middle
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They cheapen the overall effect.
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What results is the best performance from either in years.
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S1M0NE's satire is not subtle, but it is effective.
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An already thin story boils down to surviving invaders seeking an existent anti-virus.
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A confluence of kiddie entertainment, sophisticated wit and symbolic graphic design.
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A period story about a Catholic boy who tries to help a Jewish friend get into heaven by sending the audience straight to hell.
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A film that should be relegated to a dark video store corner is somehow making its way instead to theaters.
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Deliberately and skillfully uses ambiguity to suggest possibilities which imbue the theme with added depth and resonance.
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And more than that, it's an observant, unfussily poetic meditation about identity and alienation.
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Exploits (headbanger) stereotypes in good fun, while adding a bit of heart and unsettling subject matter.
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Resurrection has the dubious distinction of being a really bad imitation of the really bad Blair Witch Project.
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Fluffy and disposible.
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In its treatment of the dehumanizing and ego-destroying process of unemployment, Time Out offers an exploration that is more accurate than anything I have seen in an American film.
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Odd and weird.
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The beauty of Alexander Payne's ode to the Everyman is in the details.
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No matter how much he runs around and acts like a doofus, accepting a 50-year-old in the role is creepy in a Michael Jackson sort of way.
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Meyjes' provocative film might be called an example of the haphazardness of evil.
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Can I admit XXX is as deep as a Petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure?
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A hugely rewarding experience that's every bit as enlightening, insightful and entertaining as Grant's two best films -- Four Weddings and a Funeral and Bridget Jones's Diary.
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Interview With the Assassin is structured less as a documentary and more as a found relic, and as such the film has a difficult time shaking its Blair Witch Project real-time roots.
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It's mildly interesting to ponder the peculiar American style of justice that plays out here, but it's so muddled and derivative that few will bother thinking it all through.
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It appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up.
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Reign of Fire has the disadvantage of also looking cheap.
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To call this one an eventual cult classic would be an understatement, and woe is the horror fan who opts to overlook this goofily endearing and well-lensed gorefest.
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