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67.3k
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|---|---|---|
told in scattered fashion
| 0negative
| 200
|
takes chances that are bold by studio standards
| 1positive
| 201
|
believe it or not , jason actually takes a backseat in his own film to special effects
| 0negative
| 202
|
only thing to fear about `` fear dot com ''
| 0negative
| 203
|
whole mess
| 0negative
| 204
|
manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor
| 1positive
| 205
|
working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .
| 1positive
| 206
|
a résumé loaded with credits like `` girl in bar # 3
| 0negative
| 207
|
enjoy the ride
| 1positive
| 208
|
very little to add beyond the dark visions already relayed by superb recent predecessors
| 0negative
| 209
|
the , yes , snail-like pacing
| 0negative
| 210
|
an extremely unpleasant film .
| 0negative
| 211
|
if it is n't entirely persuasive , it does give exposure to some talented performers
| 1positive
| 212
|
the whole affair , true story or not , feels incredibly hokey ...
| 0negative
| 213
|
are all things we 've seen before
| 0negative
| 214
|
poignant and leavened
| 1positive
| 215
|
breathless anticipation
| 1positive
| 216
|
significantly better
| 1positive
| 217
|
as predictable as the tides
| 0negative
| 218
|
bewilderingly brilliant and entertaining
| 1positive
| 219
|
it 's smooth and professional
| 1positive
| 220
|
, unassuming , subordinate
| 0negative
| 221
|
the horror
| 0negative
| 222
|
a technically superb film
| 1positive
| 223
|
the positive change in tone here seems to have recharged him .
| 1positive
| 224
|
pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators
| 1positive
| 225
|
a dim
| 0negative
| 226
|
, vicious and absurd
| 0negative
| 227
|
because he acts so goofy all the time
| 0negative
| 228
|
to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside
| 1positive
| 229
|
's at once laughable and compulsively watchable ,
| 1positive
| 230
|
merit its 103-minute length
| 1positive
| 231
|
the value and respect for the term epic cinema
| 1positive
| 232
|
as a dentist 's waiting room
| 0negative
| 233
|
showing honest emotions
| 1positive
| 234
|
amazingly lame .
| 0negative
| 235
|
confessions may not be a straightforward bio
| 0negative
| 236
|
seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little
| 0negative
| 237
|
the story is bogus and
| 0negative
| 238
|
this comic gem is as delightful as it is derivative .
| 1positive
| 239
|
to spare wildlife
| 1positive
| 240
|
ugly as the shabby digital photography
| 0negative
| 241
|
understand the difference between dumb fun and just plain dumb
| 0negative
| 242
|
traditionally structured
| 1positive
| 243
|
frida is n't that much different from many a hollywood romance .
| 0negative
| 244
|
does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .
| 1positive
| 245
|
are worth the price of admission ... if `` gory mayhem '' is your idea of a good time
| 1positive
| 246
|
was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one )
| 0negative
| 247
|
carnage and
| 0negative
| 248
|
degraded , handheld blair witch video-cam footage
| 0negative
| 249
|
second fiddle
| 0negative
| 250
|
about the folly of superficiality that is itself
| 0negative
| 251
|
serves as auto-critique , and its clumsiness as its own most damning censure .
| 0negative
| 252
|
tedious norwegian offering which somehow snagged an oscar nomination .
| 0negative
| 253
|
, esther kahn is unusual but unfortunately also irritating .
| 0negative
| 254
|
a stylish exercise
| 1positive
| 255
|
halfway through this picture i was beginning to hate it
| 0negative
| 256
|
a setup so easy it borders on facile
| 0negative
| 257
|
a thoroughly awful movie
| 0negative
| 258
|
takes hold and grips hard
| 1positive
| 259
|
look smeary and blurry , to the point of distraction
| 0negative
| 260
|
the picture 's fascinating byways
| 1positive
| 261
|
guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves
| 0negative
| 262
|
breezy , distracted rhythms
| 0negative
| 263
|
than this mess
| 0negative
| 264
|
evanescent , seamless and sumptuous stream
| 1positive
| 265
|
slick and manufactured to claim street credibility .
| 1positive
| 266
|
take care is nicely performed by a quintet of actresses ,
| 1positive
| 267
|
valuable messages
| 1positive
| 268
|
in no small part thanks to lau
| 1positive
| 269
|
two guys who desperately want to be quentin tarantino when they grow up
| 0negative
| 270
|
no new plot conceptions
| 0negative
| 271
|
essentially a collection of bits --
| 0negative
| 272
|
does n't bode well for the rest of it
| 0negative
| 273
|
elevated by it -- the kind of movie
| 1positive
| 274
|
usual worst
| 0negative
| 275
|
hugh grant , who has a good line in charm
| 1positive
| 276
|
arrive early and stay late
| 1positive
| 277
|
is a pan-american movie , with moments of genuine insight into the urban heart .
| 1positive
| 278
|
i could have used my two hours better watching being john malkovich again .
| 0negative
| 279
|
shot in artful , watery tones of blue , green and brown
| 1positive
| 280
|
an unorthodox little film noir organized crime story that includes one of the strangest
| 1positive
| 281
|
considerable aplomb
| 1positive
| 282
|
acted by diane lane and richard gere .
| 1positive
| 283
|
scant
| 0negative
| 284
|
an admittedly middling film
| 1positive
| 285
|
too ludicrous
| 0negative
| 286
|
the rock 's fighting skills are more in line with steven seagal
| 1positive
| 287
|
rich and full
| 1positive
| 288
|
warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .
| 1positive
| 289
|
that uses a sensational , real-life 19th-century crime as a metaphor for
| 1positive
| 290
|
, home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .
| 1positive
| 291
|
, the film retains ambiguities that make it well worth watching .
| 1positive
| 292
|
ultra-cheesy dialogue
| 0negative
| 293
|
added depth and resonance
| 1positive
| 294
|
the sensational
| 1positive
| 295
|
huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them
| 1positive
| 296
|
handsome but unfulfilling suspense drama
| 0negative
| 297
|
's not very good either .
| 0negative
| 298
|
in her most charmless
| 0negative
| 299
|
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